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THE  LIBRARY  OF  THE 

UNIVERSITY  OF 

NORTH  CAROLINA 


ENDOWED  BY  THE 

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Music  Library 


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A 


MUSICAL  GRAMMAR, 

IN   FOUR    PARTS. 


I.  NOTATION,         |         III.    HARMONY, 

II.  MELODY,  I        IV.    RHYTHM. 


BY  DR.  CALLCOTT, 

ORGANIST  OF  COVENT-GARDEN  CHURCH. 


"  The  better  Music  is  known  and   understood,   the  more  it  will  be 
valued  and  esteemed." 

Simpson's  compendium,  1678. 


FIRST  AMERICAN,  FROM  THE  LAST  LONDON  EDITION. 


BOSTON : 

PUBLISHED  BY  WEST  &  BLAKE,  AND   MANNING  iS?  LORING. 
Manning  &  Lor  in  g,  Printers, 


Digitized  by  the  Internet  Archive 

in  2012  with  funding  from 

University  of  North  Carolina  at  Chapel  Hill 


http://archive.org/details/musicalgrammarincall 


The  Author's  Preface. 


THE  design  of  the  following  Work  is,  to 
compress  in  a  small  volume,  the  leading  princi- 
ples of  Practical  Music.  From  the  analogy 
which  exists  between  Music  and  Language,  the 
Author  has  presumed  to  adopt  a  classification 
first  suggested  by  the  German  Theorists,  and 
to  entitle  the  whole  a  Musical  Grammar, 

He  has  endeavoured,  by  Examples  selected 
from  the  best  Authors,  and  intermixed  with 
Musical  Characters,  to  render  the  instructions 
more  satisfactory  than  if  they  were  merely 
verbal ;  and  he  only  regrets  that,  in  many  in- 
stances, they  could  not  be  made  more  exten- 
sive, without  injuring  the  due  proportion  of  the 
parts  and  the  portable  size  of  the  book. 

The  Author  takes  this  public  method  of  an- 
nouncing, that  he  has  not  abandoned  the  design 
formed  nine  years  ago,  of  compiling  a  Musical 
Dictionary.  His  original  plan*  merely  pro- 
fessed to  comprehend  an  abridgment  of  Wal- 
ther,  Rousseau,  &c.  but,  when  the  friendship  of 
Mr.  Kollman  (Organist  of  the  German  Chapel 
at  St.  James)  had  assisted  him  with  some  valua- 
ble treatises,  he  found  it  necessary  to  relinquish 
the  idea  of  immediate  publication ;  and,  un- 
willing that  many  more  years  should  elapse 
without  shewing  the  world  in  what  manner  his 


5"" 

S>  *  March  1, 1798, 


IV 


researches  had  been  conducted,  he  ventures  to 
lay  before  the  Public  a  specimen  of  what  may- 
be expected  from  his  labours* 

He  is  very  happy  to  avail  himself  of  the 
present  opportunity  of  returning  his  most 
grateful  acknowledgment  for  the  assistance  he 
has  obtained  from  public  and  private  libraries 
of  this  kingdom,  and  for  the  great  attention 
shewn  him  by  persons  not  more  distinguished 
by  rank  and  birth,  than  by  love  of  science  and 
of  literary  pursuits. 

To  the  Profession  also,  in  general,  he  con- 
siders himself  highly  indebted,  not  only  for  the 
loan  of  scarce  books,  but  also  for  occasional 
remarks  and  useful  hints  on  various  musical 
subjects,  on  which  it  was  necessary  to  consult 
them. 

The  completion  of  a  Dictionary  from  the  ac- 
cumulated materials  of  nine  years,  will  require 
no  small  portion  of  time  and  expense  to  render 
it  worthy  of  the  public  patronage.  The  present 
small  volume  is,  in  the  mean  time,  submitted 
by  the  Author  to  the  world  with  a  considerable 
degree  of  diffidence ;  and  he  hopes  that  the 
various  professional  occupations  in  which  he  has 
been  incessantly  engaged,  will  be  an  excuse  for 
any  small  inaccuracies  which  may  strike  those 
who  are  conversant  with  the  subject. 


ADVERTISEMENT. 

AS  the  present  edition  of  the  "  Musical  Grammar"  has  not 
received  the  advantage  of  being  revised  by  its  excellent  Author, 
a  short  account  may  be  necessary,  of  those  Additions,  and  Alter- 
ations, which  have  been  thought  essential  to  its  improvement. 

The  divisions  of  the  Work,  in  the  former  edition,  were  consid- 
ered too  minute.  The  same  subject  was  frequently  continued 
through  several  articles,  by  which  means  references  were  multi- 
plied, and  the  attention  of  the  Student  unnecessarily  distracted. 
In  the  edition  now  offered  to  the  Public,  the  Articles  are  consid- 
erably compressed;  according  to  the  suggestions  of  Mr.  Jousse, 
a  Professor  who  has  studied  the  Work  with  a  degree  of  attention, 
which  will  always  strongly  recommend  him  to  thpfe  who  are  in- 
terested in  its  success. 

Complaints  were  also  made,  of  the  difficulties  the  Student  en- 
countered, from  the  Examples  of  Harmony  being  given  only  by 
figured  bases;  which  presupposes  a  degree  of  knowledge,  pos- 
sessed alone  by  those  who  have  made  a  considerable  progress  in 
Musical  Science.  The  principal  of  these  Examples  have,  here, 
been  illustrated  by  Mr.  Horsley,  who  has  long  been  in  habits  of 
the  greatest  intimacy  and  friendship  with  the  Author,  and  who, 
from  this  circumstance,  may  be  thought  qualified  to  develop  his 
intentions,  in  such  passages  as  were  before  rather  too  concisely, 
and  sometimes  even  obscurely  expressed-;  But  the  most  impor- 
tant alterations,  in  the  present  Edition,  are  those  in  the  Fourth 
Part,  on  Rhythm,*  which  was  probably  undertaken  by  the  inge« 

*  Ammadvetted  upon  in  the  British  Critic  for  April  and  June,  1 807, 

A2 


IV  ADVERTISEMENT. 

nious  Writer  more  hastily  than  a  subject  demanded,  on  which  an 
exact  comparison  was  professed  to  be  drawn,  between  Musical 
Metre  and  Ancient  Prosody,  and  which  required  a  very  close 
investigation  of  both.  This  less  perfect  part  of  the  work  has 
been  carefully  revised,  and  rendered  correct  in  the  erroneous 
passages,  by  Mr.  S.  Wesley  ;  and  from  this  Gentleman's  well- 
known  learning,  and  great  musical  talents,  the  Work  has, 
throughout  the  whole  progress  of  reprinting,  derived. very  con- 
siderable advantages. 

No  pains  have  been  spared  to  render  this  Edition  worthy  of 
the  very  flattering  reception  with  which  the  Public  honoured 
the  first.  The  Editors  are  most  sincerely  attached  to  the  Author, 
not  only  by  admiration  of  his  talents  and  acquirements,  but  by 
the  still  more  powerful  ties  of  affection  for  his  virtues  and  benefi- 
cence :  and  they  most  fervently  hope,  that  this  will  not  prove 
his  last  effort  to  enrich  the  ^Musical  literature  of  England. 


ADVERTISEMENT    TO    THE   AMERICAN 
EDITION. 


IN  the  cultivation  of  Music,  two  distinct  objects  are  to 
be  acquired;  Science  and  Taste.  Taste  is  improved  by  stud- 
ying the  compositions  of  celebrated  Masters,  and  by  endeavouring, 
both  in  writing  and  performing,  to  adapt  the  melody  to  the  subject. 

While  several  publications  have  lately  made  their  appearance  in 
this  country,  which  have  a  tendency  to  refine  the  public  Taste, 
it  is  a  fact,  that  we  have  no  work  in  circulation  which  is  calculated 
to  acquaint  the  learner  with  the  principles  of  Music  as  a  Science. 
Hence  the  indigenous  productions  of  the  United  States,  with  a  few 
exceptions*  have  been  found  very  exceptionable,  and  have  exposed 
the  authors  to  the  sneers  of  European  critics. 

To  remedy  this  evil,  some  elementary  work  of  merit  seemed  to 
be  indispensably  necessary;  and  the  high  reputation  of  Doctor 
Callcott's  Musical  Grammar  satisfied  the  American  Editors  that  its 
republication  must,  in  all  probability,  be  acceptable  to  the  public. 
But  few  copies  of  this  work,  (which  indeed  has  but  recently  ap- 
peared in  England)  have  reached  this  country,  and  those  could  not 
be  purchased  but  at  a  price  which  has  been  considered  dispropor- 
tionate to  the  size  of  the  volume.  The  Publishers  have  sought  to  re- 
move this  objection,  and  have  spared  no  pains  to  secure  elegance  of 
typography,  and,  what  is  more  essential,  to  preserve  the  corrections 
of  the  original  edition. 

By  a  due  attention  to  this  little  volume,  it  is  confidently  believed, 
that  the  student  may  obtain  all  that  is  necessary  to  discriminate  be- 
tween false  and  correct  harmony,  and  to  compose  conformably  to 
the  established  rules ;  an  acquisition  which  certainly  must  be  desir- 
able to  the  votaries  of  Music ;  and  what,  to  every  Christian,  must 
be  an  object  of  consequence,  it  will  tend  to  introduce  dignity  and 
purity  into  those  native  compositions,  which  are  designed  for  the 
use  of  worshipping  assemblies. 

May,  1810. 


CONTENTS. 


PART    I. 

THE  NOTATION  OF  MUSIC. 

Page 

Chap.  I.    Of  the  Staff,  ..............  1 

II.    Of  the  €lef 5 

Sect.  1.    Of  Clefs  in  general, 

2.  Of  the  G,  or  Treble  Clef, 7 

3.  Of  the  F,  or  Base  Clef, 8 

4.  Of  the  Counter  Tenor  Clef, 10- 

5.  Of  the  Tenor  Clef, 11 

6.  Of  the  Soprano  Clef, ,12 

7.  .Of  the  Mezzo  Soprano,  the  Baritono,  and 

high  Treble  Clefs,     ........  13 

III.  Of  the  Mtes, 14 

Sect.  1.    Of  Notes  in  general, 

2.  Of  the  Tune  of  Notes, .2© 

3.  Of  the  Time  of  Notes,  ........  25 

4.  Of  the  Accent  of  Notes, 41 

IV.  Of  the  Rests*  .................  46 

V.    Of  the  Sharjis,  Flats,  &c 49 

Sect.  1.    Of  the  Sharps,      ............ 

2.  Of  the  Flats, 52 

3.  Of  the  Naturals, 56 

4.  Of  the  double  Sharp, 58 

5.  Of  the  double  Flat, 59 

VI.    Of  Graces,   Characters,  Marks  of  Exfiressio?i, 

and  Abbreviations, 61 

Sect.  1.    Of  Graces, 

2.  Of  the  Characters, 73 

3.  Of  the  Marks  of  Expression, 79 

4.  Of  Abbreviations,     .........  83 


X  CONTENTS, 

PART    II. 

MELODY. 

Page 

Chap.  I.     Of  Intervals, 85 

Sect.  1.    Of  Intervals  in  general,    . 

2.  Of  the  Names  of  Intervals, 88 

3.  Of  the  fourteen  Diatonic  Intervals,    ...    90 

4.  Inversion  of  Intervals, 100 

II.    Of  Consonant  and  Dissonant  Intervals,  ....  104 

III.  Of  the  Genera, 109 

Sect.  1.    Of  the  three  kinds  of  Melody, 

2.  Of  the  Chromatic  Scale,  and  its  Intervals,    111 

3.  Of  the  Enharmonic  Scale,  and  its  Interval, 

the  Quarter-tone,      119 

IV.  Of  Keys  or  Scales,  and  their  two  Modes,  Major 

analMinor, , 123 

Sect.  1.  Of  Keys  or  Scales,    .    .    . 

2.  Of  the  Major  Scales  with  Sharps,      .    .    .124 

3.  Of  the  Major  Scales  with  Flats,,    .    .-   .    -126 

4.  Of  the  Signature, 127 

5.  Of  the  Minor  Scale  or  Mode,    .....  128 

6.  Of  the  relative  Minor  Scales, 131 

7.  Of  the  Tonic  Minor  Scales,  ......  132 

8.  Of  Transposition,  &c 133 

V.     Of  the  Qualities  of  the  JVbtes  which  compose  the 

Scale, 136 

Sect.  1.    Of  the  Tonic,  Dominant,  8cc 

2.    Of  the  characteristic  Notes,       140 

VI.     Of  Ancient  Signatures, 142 

Sect.  1.    Of  ancient  Signatures  in  general,  .... 

2.  Of  ancient  sharp  Signatures, 144 

3.  Of  ancient  flat  Signatures,     ...*..  145 


-CONVENTS,  XI 

PART    in. 

HARMONY. 

Page 

Chap*  I.    Of  the  Triad,     .  V .   ;.  148 

Sect.  1.    Of  the  Consonant  and  Dissonant  Triads,    . 

2.  Inversions  of  the  Triad, 153 

3.  Of  the  Direct  and  contrary  Motions,  and 

the  rules  for  their  use  in  Harmony,    .    .  157" 

4.  Of  Harmonical  Progression,       159 

H.    Of  the  Dominant  Seventh,  its  Inversions,  Reso- 
lution, and  of  Modulation, 165 

Sect.  1.    Of  the  Dominant  Seventh, 

2.  Of  the  Inversions  of  the  Dominant  Seventh,  171 

3.  Of  the  Resolution  of  the  Dominant  Seventh,  174 

4.  Of  Modulation, .    .179 

III.  Of  Discords, 186 

Sect.  1.    Discords  of  Transition, 

2.  Discords  of  Suspension,     .......  192 

3.  Discords  of  Syncopation,    ......    .200 

4.  DisGords  of  Addition, 201 

IV.  Of  Cadences, ,216 

Sect.  1.    Of  radical  Cadences, 

2.    Of  medial  Cadences, 221 

V.    Of  Sequences, 225 

Sect.  1.  Of  dominant  Sequences,    .    . 

2.  Of  mediant  Sequences, .226 

3.  Of  inverted  Sequences, 227 

4.  Of  simple  Sequences, 229 

5.  Of  compound  Sequences, .  231 

6.  Of  irregular  Sequences,    . 233 

VI.    Of  Licenses, 235 

Sect.  1.  Of  Pedal  Harmonies, 

2.  Of  the  extreme  sharp  Sixth, 237 

3.  Of  partial  Modulation, 240 

4.  Of  the  rule  of  the  Octave, 242 

5.  Of  Chromatic  Modulation, 245 

■6,  Of  Enharmonic  Modulation,      247 


BART    Wl 

RHYTHM. 

Page 

Chap.  1    Of decent, 251 

Sect.  1.    Of  simple  Measures, 

2.  Of  compound  Measures, .256 

3.  Of  mixed  Measures,     . 258 

4.  Of  Emphasis,   .    . 260 

II.    Of  the  Musical  Foot, 263 

Sect.  1.    Of  simple  Feet, 

2.    Of  compound  Feet, 267 

III.  Of  the  Musical  Casure, 269 

IV.  Of  the  Phrase, .    .    .    .  274 

Sect.  1.    Of  the  regular  Phrase,      ....... 

2.  Of  the  irregular  Phrase, 279 

3.  Of  interwoven  Phrases, 283 

V.    Of  the  Section, 286 

Sect.  1.    Of  the  regular  Section, . 

2.  Of  the  irregular  Section,   .......  289 

3.  Of  the  interwoven  Section, 291 

4.  Of  the  Codetta, 295 

VI.    Of  the  Period,     .    ■* 298 

Sect  1.    Of  the  Tonic  Period, 

2.  Of  the  Dominant  Period, 301 

3.  Of  the  interwoven  Period, 304 

4.  Of  the  Coda,     ..'..... 308 


MUSICAL  GRAMMAR. 

PART  I. 

THE  NOTATION  OF  MUSIC 


CHAP.  L 

OF  THE  STAFF, 


Art.  1.  FlVE  lines  drawn  over  each  other, 
form  a  Staffs  or  support  for  the  notes  of 
Music  j   thus, 


On  these  Lines,  and  in  the  Spaces  between 
them,  the  heads  of  the  Notes  are  placed, 

2.  The  Lines  and  Spaces  of  the  Staff  are 
counted  upwards,  from  the  lowest  to  the 
highest, 

LINES   <  |ZT —  SPACES   <  \  ■      ....  - ^ 


*  Sir  John  Hawkins  (vol.  i.  p.  427)  writes  the  word  Stave  for 
Staff. — Dr.  Burney,  v.  ii.  p.  87 :  "'  The  regular  Staff  of  four  lines 
was  not  generally  used  in  the  church  till  the  13th  century." 
B 


2  I.    NOTATION. 

Every  Line,  or  Space,  is  called  a  Degree  ;* 
thus  the  Staff  includes  nine  Degrees,  viz.  five 
Lines,  and  four  Spaces. 

3.  The  Notes  of  Music  consist  generally  of 
two  parts,  a  Head  and  a  Stem. 

The  Head  is  either  open  or  close  (that  is, 
white  or  black  ;)  and  must  always  be  placed  on 
a  Line,  or  in  a  Space. 

The  Stem  may  turn  up  or  down,  without 
making  any  difference  in  the  Music. 


WHITE  NOTES. 
On  Lines.  In  Spaces. 

a — 0- 


-3 


-= — B 


m^- 


zd—z-zzzz=±z 


BLACK  NOTES. 
On  Lines.  In  Spaces. 


4.  When  more  than  nine  Notes  are  wanted, 
the  Spaces  above  and  below  the  Staff  are  used, 
and  two  more  Degrees  are  gained ;  thus, 


*  Christopher  Simpson,  Compendium  of  Practical  Music,  1678, 
(3d  edit.)  p.  2. 


CHAP.  I.      STAFF. 


5.  If  more  Notes  than  these  are  required, 
then  added  Lines*  are  drawn  above  or  below 
the  Staff,  and  the  Notes  are  placed  on  them ; 
thus, 


Line 
above, 


Line  3 
below, 


«a?p= 


Any  number  of  Lines  may  be  added  above 
or  below  ;  thus  the  Degrees  of  the  Staff  are  in- 
creased  at  pleasure. 

6.  In  Music  for  Keyed  Instruments,  when  a 
Staff  is  wanted  for  each  hand,  they  are  joined 
together  by  a  Brace ;  the  upper  Staff  for  the 
right  hand  part,  and  the  lower  Staff  for  the  left. 


*  The  added  Lines  were  formerly  called  Ledger  or  Leger, 
short  or  light  lines.  The  latter  term  is  adopted  by  Mr.  Holden, 
in  his  Essay  (1770)  p.  21,  art.  56. 


4  1    NOTATION. 

When  more  than  two  Staves  are  joined  to* 
gether  by  the  Brace,  they  contain  Music  for 
different  voices,  or  instruments,  to  be  perform- 
ed at  the  same  time.     This  union  of  Staves  is 

called  the  Score.* 

i  v 
„ 

*  Dr.  B.  li.  440:  "The  word  Score  probably  originated  from 
the  Bar,  which,  in  its  first  use,  was  drawn  through  all  the  parts, 
as  it  should  be  still,  of  a  piece  of  music  in  partition  or  fiartiture" 


CHAP.  II. 

OF  THE  CLEF. 


SECT.  I— OF  CLEFS  IN  GENERAL. 

Art.  7.  The  Notes  of  Music  are  named  from 
the  first  seven  letters  of  the  alphabet, 

A,  B,  C,  D,  E,  F,  G. 
When  the  Melody,  or  Tune,  exceeds  these  sev- 
en, the  same  series  of  letters  must  be  repeated. 

8.  A  Clef*  is  a  mark  representing  a  letter, 
placed  at  the  beginning  of  the  Staff,  to  deter- 
mine the  names  of  the  Degrees,  and  is  always 
situated  on  a  Line.     There  are  three  Clefs : 

The  F.  The  C.  The  G. 


These  are  commonly  called  the  Base,  the  Tenor, 
and  the  Treble. 

9.  The  sounds  of  Music  are  distinguished 
by  their  difference  in  respect  of  pitch,  and  di- 
vided into  High  and  Low  :  the  high  sounds  are 


*  Sir  J.  H.  writes  Cliff,  i.  431 ;  iii.  51,  89 ;  iv.  162.— Dr.  B.  ii.  90 : 
"  Clefs  were  originally  nothing  more  than  the  letters  of  the  alpha- 
bet, placed  opposite  to  notes  of  the  same  name." 
B2 


€  I.    NOTATION. 

placed  in  a  Staff  with  the  G  Clef,  and  called 
Treble;  the  low  sounds  are  placed  in  a  Staff 
with  the  F  Clef,  and  called  Base. 

10.  The  upper  sounds  of  the  Base,  and  the 
lower  ones  of  the  Treble,  are  also  called  Ten- 
or, and  sometimes  placed  in  a  Staff  with  the 
C  Clef. 

1 1 .  These  three  Clefs  are  five  Degrees  dis- 
tant from  each  other  ;  the  C  or  Tenor  Clef, 
being  the  Note  where  the  Base  ends  and  the 
Treble  begins.  The  G  or  Treble  Clef,  is  five 
Degrees  above  ;  and  the  F  or  Base,  is  five 
Degrees  below,  both  inclusive. 


fgabcdef 

1 2.  All  the  Degrees  of  the  Staff  depend  upon 
the  Clef;  and  consequently  take  their  names 
from  that  Line  on  which  the  Clef  is  placed. 
It  must  always  be  remembered,  that  these  Clefs 
are  representatives  of  the  letters,  f,  c,  and  g.* 


*  The  utility  of  Clefs,  in  respect  of  human  voices,  is  explained 
by  Dr.  B.  ii.  457.— See  also  Malcolm,  p.  332 ;  and  Holder  p.  20, 
art  54. 


CHAP.  II.  CLEF.  7 

SECT.  II.— OF  THE  G  OR  TREBLE  CLEF. 

13.  The  G  Clef*  must  turn  on  the  second 
Line  of  the  Staff;  all  the  Notes  on  that  Line 
are  called  g  >  the  other  Degrees  take  their 
names  from  that,  as  the  Clef  Line. 


g....H53I g: ....On  the  Clef  Line. 

The  nine  Degrees  of  the  Treble  Staff  are, 

&  j  J  f ft,  j  J,f,ri 


are 


egbdf     face 
14.    The  Degrees  above  and  below  the  Staff 

g 


mm 


The  other  added  Degrees  are  reckoned  from 
these,  whether  above  or  below. 


*  The  G  Clef  is  a  compound  character  of  the  letters  G  and  S, 
for  the  syllable  Sol.  In  old  Music,  the  two  letters,  g  and  s,  are 
sometimes  seen  distinctly  marked. — Turner's  Essay  (1724)  p.  34; 
Dr.  Pepusch,  Treatise  on  Harmony  (1731)  ;  Rameau,  Treatise 
(1752.)— Sir  J.  H.  iii.  105,  ascribes  the  earliest  use  of  our  present 
character  to  Lampadius  (1537)  ii.  408 ;  iii.  54. 


8  I.    NOTATION. 

SECT.  III.— OF  THE  F  OR  BASE  CLEF. 

15.  The  F  Clef*  must  be  placed  on  the 
fourth  Line  of  the  Staff,  so  that  the  two  dots 
are  in  the  third  and  fourth  Spaces :  all  the 
Notes  on  that  Line  are  called  f  \  the  other  De- 
grees take  their  names  from  that,  as  the  Clef 
Line. 

f , . .  T\  5~. — °n  the  Clef  Line. 

The  nine  Degrees  of  the  Base  Staff  are, 


B 


mi 


.fznz 


GBdfa      Aceg 
16.    The  Degrees  above  and  below  the  Staff, 


are, 


a: 


3 


fe^ 


F      b     E 


*  The  F  Clef  is  a  compound  character,  formed  originally  of 
three  Notes,  one  placed  on  the  Line,  and  two  others  in  the  adjoin- 
ing Spaces ;  thus, 


The  C  Clef  was  distinguished  from  the  F,  by  having  only  the 
two  Notes  in  the  Spaces ;  and  these  Clefs  were  adopted  in  the 
Gregorian,  while  coloured  lines  were  used  for  the  more  ancient 
Ambrosian,  Chant.  Franchinus  Gafurius,  Practica,  lib.  i.  cap.  3, 
fol.  4,  b,  edit.  1496  and  1502. 


CHAP.  H.     CLEF. 


9 


17.  The  Note  C,  on  the  added  Line*  below 
the  Treble,  and  on  that  above  the  Base,  are 
exactly  the  same  sound  ;  thus  the  lower  Notes 
ef  the  Treble  may  be  expressed  in  the  Base, 


IP 


mi- 


c  d   e 


and  the  higher  Notes  of  the  Base  may  be  ex* 
pressed  in  the  Treble. 


mi 


c   b  a 


m 

c  b  a 


1 8.    The  same  Notes  may  be  thus  written  in 
both  the  F  and  G  Clefs, 


g      a     b      c      d      e      f 


m 


a     b      c      d      e      f 


1 


*  When  the  added  lines  between  the  Treble  and  Base  fre- 
quently occur,  it  is  usual  in  old  Music  to  find  the  C  Clefs  in  both 
upper  and  lower  Staves. — See  Scarlatti's  Lessons,  ii.  12. 


10  I.    NOTATION. 

SECT.  IV.—OF  THE  COUNTER  TENOR  CLEF,  OR  C 
ON  THE  THIRD  LINE. 

19.  When  the  C  Clef  is  placed  so  that  the 
two  cross  strokes  enclose  the  middle  Line,  it  is 
called  the  Counter  Tenor,*  or  Viola  Clef. 


C....IHI ft ,...0a  the  third  Line. 


The  nine  Degrees  of  the  Viola  Staff  are, 


faceg     gbdf 

These  correspond  with  the  Notes  in  the  Treble 
and  Base  Clefs,  given  in  the  Example  of 
Art.  18. 

20.  The  Counter  Tenor  Clef  is  used  for  the 
high  voices  of  men  in  Vocal  Music,  and  for  the 
Viola  or  Tenor  Violin  in  Instrumental  Pieces. 


*  This  is  also  called  Alto  and  Contralto.  It  borrows  the  two 
lower  lines  of  the  Treble  for  its  upper  Degrees,  and  the  two 
upper  lines  of  the  Base  for  its  lower  Degrees.  The  middle  line 
is  the  added  one  between  the  Treble  and  Base.  This  Clef  is  used 
in  Handel's  400  Songs,  ii.  No.  130:  "O  fairest  of  Ten  Thousand;" 
iii.  No.  192:  "See  the  conquering  Hero  comes;"  v.  No.  379 i 
"  Hide  me  from  day's  garish  eye."- 


CHAP.  II.  CLEF.  1 1 

SECT.  V.—OF  THE  TENOR  CLEF,  OR  C  ON  THE 
FOURTH  LINE. 

21.  When  the  C  Clef  is  placed  so  that  the 
two  cross  strokes  enclose  the  fourth  Line,  it  is 
galled  the  Tenor  Clef.* 

C....JB]       *""" q *"" "" °n  the  fourth  Line. 


The  nine  Degrees  of  the  Tenor  Staff  are, 

iggggn 

dface      egbd 

These  Notes  are  five  Degrees  above  those  in  the 
Base  Clef,  Art.  15,  p.  8. 

22.  The  Tenor  Clef  is  used  for  the  middle 
voices  of  men,  and  for  the  Violoncello  or  Base 
Violin,  in  Instrumental  Music*  when  the  pas- 
sage ascends  above  the  Base  Staff. 


*  The  Tenor  Clef  borrows  the  lowest  line  of  the  Treble  for  its 
upper  Degree,  and  the  three  highest  lines  of  the  Base  for  its  lower 
Degrees.  The  fourth  line  is  the  added  one  between  the  Treble 
and  Base. — Examples  of  this  Clef  may  be  found  in  Handel's 
Songs,  i.  No.  49 :  "  How  blest  the  Maid;"  No.  57:  •<•«  But  oh,  sad 
Virgin;"  ii.  No.  148:  "What  passion  cannot." 


12  I.    NOTATION. 

SECT.  VI.— OF  THE  SOPRANO  CLEF,  OR  C  ON  THE 
FIRST  LINE. 

23.  When  the  C  Clef  is  placed  so  that  the 
two  cross  strokes  enclose  the  lowest  Line,  it  is 
called  the  Soprano,*  or  Canto  Clef. 


i 


.0~_....On  the  first  Line. 


The  nine  Degrees  of  the  Soprano  Staff  are. 


cegbd     dfac 


These  Notes  are  three  Degrees  below  those  in 
the  Treble  Clef,  Art.  13,  p.  7. 

24.  The  Soprano  Clef  is  used  for  the  voices 
of  females  and  children.  In  Italy  and  Germany, 
no  other  Clef  is  in  general  use  for  the  Harpsi- 
chord ;  the  G  Clef  being  reserved  for  the  Vio- 
lin, Flute,  &c. 


*  The  Soprano  Clef  borrows  the  four  lowest  lines  of  the  Treble 
for  its  upper  Degrees ;  and  the  first  line  is  the  added  one  between 
the  Treble  and  Base. — These  three  C  Clefs,  the  Soprano,  Alto, 
Tenor,  with  the  Base  F  Clef,  form  the  four  regular  Clefs  of  Cho- 
ral Counterpoint — See  Dr.Boyce's  Cathedral  Music,  3  vols.  1760; 
and  new  edition  1788.  This  Clef  is  also  used  in  Handel's  Songs, 
iii.No.  176:  " Hark  he  strikes  the  golden  lyre;"  and  in  his  thir- 
teen Italian  Duetts. 


CHAP.  II.     CLEF. 


13 


SECT.  VII.— OF  THE  MEZZO  SOPRANO,  THE  BARI- 
TONO,  AND  HIGH  TREBLE  CLEFS. 

25.  In  old  Vocal  Music,  the  C  Clef  is  placed 
on  the  second  Line,  and  called  the  Mezzo  So- 
prano. 


a  c   e   g  b      b  d  f   a 

26.  In  old  Church  Music,  the  F  Clef  is  placed 
on  the  third  Line,  and  called  the  Baritono. 

Bdfac      cegb 

27.  In  old  French  Music,  the  G  Clef  is  placed 
on  the  first  Line,  and  called  the  High  Treble* 


bd'f 


*  These  three  Clefs  are  inserted  here,  chiefly  to  shew  how 
entirely  the  6ther  Degrees  depend  on  the  Clef  Line,  and  to  im- 
press on  the  mind,  that  the  Clefs  themselves  are  the  letters  C,  F, 
and  G.  Examples  of  these  two  first  Clefs  are  found  in  Padre 
Martini,  Saggio  di  Contrappunto,  1774.  The  last  G  Clef  is  used 
by  Bethizy  (Exposition  de  la  Musique,  1764,)  in  some  of  the 
plates  at  the  end  of  his  work. 
C 


14 

CHAP.  III. 

OF  THE  NOTES. 


SECT.  I— OF  NOTES  IN  GENERAL. 

Art.  28.  The  Notes  of  Music  represent 
sounds,  with  their  difference  of  pitch,  and  their 
duration  in  time.*  These  two  qualities  are 
called  the  Tune  and  Time  of  Notes. 

29.  When  to  any  series  of  the  seven  letters 
the  eighth  is  added,  the  whole  number  is  term- 
ed an  Octave  ;t  and  the  word  is  frequently  used 
to  express  the  two  extreme  Notes  of  the  series, 
the  first  and  the  eighth. 

SO.  That  series  of  the  seven  letters  which 
begins  and  ends  with  C,  ascending  or  descend- 
ing, is  most  satisfactory  to  the  ear. 

cdefgabc 


*  Our  present  Notation  was  considerably  improved  (if  not 
invented)  by  Guido  of  Arezzo,  and  Franco  of  Cologne.  Sir  J.  H. 
i.  422 ;  ii.  17, 140,  217,  237.    Dr.  B.  ii.  35, 134, 152,  443. 

f  The  seven  letters  were  formerly  called  Sefitenaries  ;  but,  as 
they  are  incomplete  and  imperfect  in  their  melody  or  tune  with- 
out the  eighth,  they  are  now  termed  Octaves.  Butler's  Princi- 
ples (1636,)  p5 13. 


CHAP.ni.-    NOTES.  15 

31.  On  keyed  instruments,  these  Notes  are 
performed  by  striking  the  long  keys,  whose 
names  are  known  by  their  situation  with  respect 
to  the  short  keys,  which  are  generally  black. 

32.  The  black  keys  are  placed  in  alternate 
divisions  of  two  and  three,  throughout  the  key- 
board ;  and,  as  the  long  key  between  the  two 
short  ones  is  always  D,#  the  other  six  letters 
may  be  readily  found  from  that  ;  E  being  the 
next  long  key  towards  the  right  hand  -?  C  the 
next  towards  the  left,  &c.  &c. 

33.  The  Cf  nearest  the  middle  of  the  instru- 
ment, is  the  Tenor  Clef  Note  ;  the  next  G  to- 
wards the  right,  is  the  Treble  Clef  Note  \  and 
the  nearest  F  towards  the  left,  is  the  Base  Clef 
Note. 

34.  To  distinguish  the  different  Notes  of  the 
same  letter  from  each  other,  the  Germans  have 
adopted  a  literal  Notation,  called  their  Tabla- 
ture,\  which,  from  its  ingenuity  and  utility,  de- 


ujii'iun.  jt  ju.u.1. 


*  The  keys  which  enclose  the  divisions  of  two  short  ones,  are 
CDE;  and  the  remaining  four,  F  G  A  B,  have  the  other  division 
of  three  short  ones  between  them. 

f  The  number  of  Keys  varies  on  different  instruments ;  but  the 
C  nearest  to  the  middle  is  always  the  Tenor  Clef  Note. 

%  The  German  Tablature  was  invented  in  the  16th  century ; 
a  specimen  of  it  may  be  seen  in  the  tract  entitled  Monochordum 
Andrese  Reinhardi,  Lipsias,  1604  (z,  23,)  in  the  Saville  Collection, 
Oxford.    Dr.B.  ii.121. 


16  I.    NOTATION. 

serves  to  be  more  universally  known  than  it  is 
at  present. 

35,  The  lowest  series  of  seven  Notes,  which 
includes  both  the  divisions  of  short  keys  in  the 
key-board  (beginning  with  the  two,)  is  called 
by  the  Germans  the  great  Octave,*  being  ex- 
pressed by  capital  letters  ;t  thus, 


t£T     "^F^IT~1~F 


C    D    E    F     G    A    B 

36.  The  next  series  of  seven  Notes  is  called 
the  small  Octave,  expressed  with  small  letters  \ 
thus, 


% 

37.    The  next  series  commences  with  the  C 
Clef  Note,  including  the   G  Clef;  and  being 


*  On  some  old  instruments,  (particularly  Organs,)  the  lowest 
Note  on  the  left  hand  is  the  great  C ;  but,  in  general,  Harpsi- 
chords, &c.  extend  downwards  to  F  F.  The  six  octave  Grand 
Piano  Fortes  reach  to  C  C  below,  and  as  far  as  C,  four  times 
marked  in  the  Treble,  on  the  right.  It  has  been  observed,  p.  14, 
that  these  Octaves  are  in  reality  only  Septenaries. 

t  In  our  old  scales,  the  letters  below  the  Base  A  were  made 
double,  and  those  above  the  Treble  Staff  termed  in  alt ;  but  the 
Septenaries  were  then  reckoned  from  A,  not  from  C ;  and  the 
limits  of  Base,  Tenor,  and  Treble,  not  accurately  defined, 


CHAP.  HI.     NOTES.  17 

expressed  by  a  small  stroke  over  each  letter,  is 
called  the  once-marked  Octave. 


wrn^m 


c      d      e     J     g      a     % 

38.    The  last  series  in  general  use  is  called 
the  twice-marked  Octave. 


^agum 


c      d     e      f      g      a      b 

39.  The  few  Notes  below  the  great  Octave 
are  marked  with  double  capitals,  and  called 
Contra  Tones.  Those  above  the  Treble  form  an- 
other series,  called  the  thrice-marked  Octave.* 

40.  Any  musical  example,  in  which  all  the 
Notes  are  of  equal  length,  may  be  expressed  by 
this  Tablature,  without  the  assistance  of  the 


*  If  these  Notes  were  arranged  by  Septenaries  from  G,  on  the 
first  line  of  the  Base,  then  the  appellations  of  Base,  Tenor,  and 
Treble,  might  be  more  appropriate ;  the  Base  Septenary  would 
end  with  the  F  Clef;  the  Tenor  C  Clef  would  be  the  middle  note 
of  its  own  series ;  and  the  Treble  would  begin  with  its  own  G 
Clef.  This  is  the  Gammut  given  by  Butler,  p.  13,  17.  The 
more  ancient  Scales  formed  their  Septenaries  from  A,  and  the 
Gammut  at  G  was  added  below.  Glareanm  Dodecaehordon 
(154f,)  lib.  i.  cap.  2,  p.  3. 

C2 


18 


I.    NOTATION*. 


Staff  or  of  the  Clef.     According  to  this  Nota- 
tion, we  may  observe, 

The  F  Clef  Note  is  the  small  g 

The  C  Clef  Note  is  the  on  ce« marked  c. 

The  G  Clef  Note  is  the  once-marked  g. 

41.    The  descending  series  of  these  Octaves 
is  expressed  in  Notes,  thus  in  the  Treble, 


zrL„*-^_ 


sgBii 


cbagfedc 
and  thus  in  the  Base, 


bag 


d   c 


133™ 


cbagfedcBAGFEDC 

42.  In  vocal  Music  these  Notes  are  sung  with 
the  syllables  introduced,  about  the  year  1022, 
by  Guido,  a  Monk  of  Arezzo,  in  Tuscany : 
UT,  RE,  MI,  FA,  SOL,  LA  f  called  by  his 
followers  the  Hexachord. 

The  French  retain  the  original  six,  with  the 
addition  of  ST  for  the  seventh.! 


*  A  particular  account  of  Guido  may  be  found  in  Sir  J.  H. 
i.  422 ;  Dr.  B.  ii.  72 ;  M.  La  Borde  (Essai  1780,)  iii.  345. 

t  The  addition  of  the  syllable  Si  was  introduced  by  Le  Maire 
Sir  J,  H.  i.  435 ;  Dr=  B.  ii,  98. 


CHAP.  III.     NOTES.  19 

UT,  RE,  MI,  FA,  SOL,  LA,  SI,  UT, 
cdefg        a      b      c 

43.  The  Italians,  for  the  sake  of  a  softer  pro- 
nunciation, have  changed  the  UT  into  DO. 

DO,  RE,  MI,  FA,  SOL,  LA,  SI,  DO.* 

44.  This  general  Scale  of  Notes  was  for- 
merly called  the  Gammut,i  from  the  Greek 
letter  Gamma,  placed  on  the  lowest  line  of  the 
Base  Staff,  or  great  G  of  the  German  Tabla- 
twe. 


*  The  change  of  Ut  to  Do,  is  mentioned  by  Sir  J.  H.  v.  197"; 
Df.B.ii.93. 

f  This  succession  of  syllables  invented  by  Gui^o,  was  also 
applicable  to  the  two  other  Notes,  F  and  G  (which  form  our 
Clefs,)  and  their  following  sounds.  Hence  arises  the  word  Gam- 
mut,  or  Gamma  Ut,  it  being  the  Ut,  or  first  sound  of  the  G  Hexa- 
chordr  denoted  by  the  Greek  letter  T.  Dr.  B.  ii.  87;  Butler, 
p.  17  ;  Ornithoparcus  (Dowland's  Translation,  1609,  p.  10.) 

The  celebrated  Prussian  Chapel-master,  C.  H.  Graun,  em- 
ployed the  following  syllables — da,  me,  ni,  fio,  tu,  la,  be,  which 
are  adopted  by  Hiller,  in  his  Anweisung  zum  Gesange  (2d  edit 
1798 ;)  not,  like  those  of  Guido,  to  ascertain  the  intervals  of  the 
Scale,  but  merely  to  accustom  the  vocal  student  to  sing  upon  all 
the  vowels,  intermixed  with  the  principal  consonants. 


20  I  NOTATION. 

SECT.  II.— OF  THE  TUNE  OF  NOTES. 

45.  The  Tune  of  Notes  depends  upon  their 
relation  to  each  other,  and  upon  the  distances 
between  them.  The  intervals  between  the  De- 
grees of  the  Scale  are  unequal  j*  and,  as  some 
are  nearly  twice  the  distance  of  others,  the 
words  Tone,  and  Semitone,  are  employed  to 
express  them. 

46.  Those  Notes  which  on  the  key-board  are 
not  separated  by  a  short  key,  are  said  to  be 
distant  from  each  other  one  Semitone  ;f  those 
which  have  a  short  key  inserted  between  them, 
are  distant  two  Semitones,  or  one  Tone.  Thus, 
the  distances  between  B  C  and  between  E  E,  are 
Semitones  ;  and  those  between  C  D,  D  E,  F  G, 
G  A,  and  A  B,  are  Tones  ; — therefore,  every 
series  of  the  eight  regular  Sounds,  or  of  the 
Octave,  contains  five  Tones,  and  two  Semi- 
tones. 

47.  The  greatest  care  must  be  taken  not  to 
misunderstand  the  words  Note  and  Tone.\     A 


*  Holden,  p.  2,  art.  7;  Malcolm,  p.  229  (of  Degrees,)  chap, 
viii.  §  2. 

f  An  exception  to  this  rule  is  found  in  those  organs  which  have 
what  are  called  short  Octaves,  and  in  which  the  two  lower  Keys 
are  tuned  to  G  G  and  C  C,  although  close  together  like  B  C. 

±  Even  the  accurate  and  learned  Butler  uses  these  terms  in 


CHAP.  III.     NOTES.  21 

Note  is  the  Sound  which  is  heard,  or  the  mark 
which  represents  it  on  the  Staff;  but  a  Tone 
is  the  distance  between  two  Notes,  which  are 
called  by  the  names  of  two  adjoining  letters, 
and  separated  by  one  single  key  of  the  instru- 
ment. Thus,  the  distance  from  A  to  B  is  a 
Tone ;  and  therefore  A  is  a  tone  lower  than 
B,  and  B  a  Tone  higher  than  A. 

48.  The  same  observation  must  be  applied 
to  the  Semitones,  which  are  sometimes  called, 
though  improperly,  half  Notes.  The  distance 
from  B  to  C  is  a  Semitone  ;  therefore  B  is  a 
Semitone  lower  than  C,  and  C  is  a  Semitone 
higher  than  B. 

49.  By  comparing  the  sounds  C  D  E  F  with 
the  following  sounds  G  A  B  C,  we  find  that  the 
distances  of  both  these  fourths*  consist  exactly 


a  vague  manner  (p.  22.)  He  first  says  :  "  From  Mi  to  Fa,  and 
from  La  to  Pha,  is  but  half  a  tone;  between  any  other  two  Notes 
there  is  a  whole  tone."  Then  he  adds :  "  But  in  singing,  how  to 
tune  each  Note  and  half  Note  to  his  fellow,  cannot  be  declared 
by  precept." 

*  The  ancient  term  for  the  fourth  was  Tetrachord ;  and  since 
the  theory  of  Rameau  has  been  known,  the  old  ideas  on  the 
subject  have  been,  with  some  variation,  revived.  Most  of  the 
modern  writers  (particularly  Holden)  have  thought  it  necessary 
to  consider  the  Octave  as  composed  of  two  fourths,  which  are 
disjoined  or  separated  by  a  tone.  As  a  Practical  Introduction 
to  Musical  Science,  this  arrangement  may  be  considered  as 
correct ;  although  theory  does  not  allow  the  perfect  mathemat* 


22 


I.    NOTATION. 


of  two  Tones  and  a  Semitone  ;  therefore  any 
Tune  formed  by  one,  will  be  exactly  similar 
to  that  of  the  other. 


F3=g=fc3=g 


§ 


m 


50.  These  two  fourths,  taken  in  succession, 
form  a  Scale,  of  which  the  chief  sound  being 
C,  is  from  thence  called  the  Key  Note**  The 
descending  series  of  this  Scale  corresponds 
with  the  common  tune  of  eight  bells. 

Scale  of  C. 

Ascending. 


SippgdddE^ 


Descending. 


§ 


=N=pp 


leal  equality  of  the  fourths,  in  respect  to  the  places  of  the  Tones 
which  compose  them. 

*  The  term  Key  is  used  by  Dr.  Pepusch,  in  the  sense  of 
Church  Tone,  or  Ecclesiastical  Mode.  In  this  species  of  Music, 
the  chief  Melody,  or  Plain  Chant,  was  confined  to  the  natural 


CHAP.  m.     NOTES. 


23 


51.  The  effect  of  these  Notes  to  the  ear,  de- 
pends upon  the  position  of  the  Semitones.  This 
may  be  easily  perceived  by  playing  eight  Notes, 
from  d,  or  e,  or  any  other  part  of  the  Scale, 
which  will  not  produce  the  same  melody* 


-U'_MJ 


¥ 


!=§=§ 


&=d 


szrszrs- 


52.  But  if  the  same  letters,  in  any  Octave 
higher  or  lower,  are  taken,  the  same  Tune  will 
be  heard. 


m 


f££=E=f=B 


>nc" 


m 


p: 


SE 


In  this  series,  the  two  Semitones  of  the  Oc- 
tave are  found  between  the  third  and  fourth, 


sounds  of  the  Scale.  Treatise  on  Harmony  (1731,)  p.  65 ;  Sir 
J.  H.  i.  360. — A  particular  account  of  the  eight  Tones  of  Italy, 
and  the  twelve  Modes  of  Germany,  may  be  found  in  Mr.  Kall- 
mann's Essay  on  Musical  Harmony  (1796,)  chap,  xviii.  p.  124; 
also  in  Sir  J.  H.  ii.  410— 44a 


24  I.    NOTATION. 

and  between  the  seventh  and  eighth,  of  the 
ascending  Scale.* 

53.  This  series  of  sounds,  which  is  performed 
on  the  Organ,  &c.  with  the  long  keys,  is  called 
the  Natural  Scale,  to  distinguish  it  from  that 
which  employs  the  short  keys  intermixed  with 
the  others,  called  the  Chromatic,  or  Artificial.! 

54.  In  the  Vocal  Scale  of  the  Solfeggio,  the 
place  of  the  Semitone  is  ascertained  by  the  syl- 
lables mi  fa  and  si  do  ;  between  all  the  others  is 
the  distance  of  a  Tone.  J 

55.  As  the  whole  doctrine  of  Melody,  or  the 
Tune  of  Notes,  must  depend  on  a  right  concep- 
tion of  the  two  Semitones,  and  their  places  in 
the  Scale,  great  attention  should  be  paid  to  this 
part  of  the  subject  by  every  Musical  Student. 


*  The  reason  why  the  Semitones  fall  in  these  places,  and  in  no 
other,  may  be  found  in  the  theoretical  writers,  Dr.  Holder  (1731,) 
p.  112;  Malcolm,  p.  229;  Mr.  Holden,  p.  16,  art.  43;  Maxwell, 
Essay  on  Tune  (1 781,)  p.  5. 

f  Malcolm  calls  this  the  Semitonic  Scale,  p.  291;  and  the  short 
keys  Artificial  Notes,  p.  292.  Its  more  usual  name,  Chromatic, 
will  be  explained  hereafter. — Antoniotto  (1760)  terms  the  Minor 
Mode  Artificial,  p.  35. 

%  The  word  Tone  will  be  used  throughout  this  Grammar  in 
this  sense,  and  no  other ;  although  it  is  applied  also  to  the  quality 
of  sound  in  a  voice  or  instrument.  Thus  it  is  said,  "  A  fine  Tone 
is  produced  from  the  Violoncello,"  Sec. 


CHAP.  III.  NOTES.  25 

SECT.  III.— OF  THE  TIME  OF  NOTES. 

56.  The  duration  of  a  Note,  with  respect  to 
Time,  is  known  by  its  particular  form ;  and  the 
distinction  between  Notes  in  this  respect,  is 
shewn  by  making  them  white  or  black,  and  by 
the  Stem  and  the  Hook.     (See  Art.  3,  p.  2.) 

The  three  principal  Notes  are,  the  Minim, 
the  Crotchet,  and  the  Quaver.* 

57.  The  Minim  is  a  white  Note  with  ZZ! 
a  Stem,  made  thus,  ~~3 


and  is  as  long  as  two  Crotchets,  or  four  Quavers. 

58.  The  Crotchet  is  a  black  Note  with  Z 
a  Stem,  made  thus,  ^ 
and  is  as  long  as  two  Quavers. 

59.  The  Quaver  is  a  black  Note  with  I 


a  Stem  and  a  Hook,  made  thus,  — fc — ■ 

and  may  be  divided  into  two  Semiquavers,  or 
four  Demisemiquavers. 

60.    The  proportions  of  these  three  principal 
Notes  to  each  other,  are  therefore  as  under, 


=s=gpppg 


One  Two  Four 

Minim.    Crotchets.  Quavers. 


*  Butler,  p.  27>  28,  has  given  a  long  account  of  the  origin  of 
these  Notes,  from  Gafurius,  Glareanus,  and  Listenius.  See  als-.» 
Sir  J.  H.  ii.  146 ;  Dr.  B.  ii.  167 ;  Malcolm,  p.  388 ;  Holden,  p.  34, 
art  63. 

D 


M  I.    NOTATION. 

61.  When  the  Quaver  is  divided  into  small- 
er  portions*  the  two  following  Notes  are  em- 
ployed : 

The  Semiquaver,  which  is  made  like 
the  Quaver,  but  with  two  Hooks, 
being  half  the  length  of  the  Quaver ; 
and   the   Demisemiquaver,    which   has    ~:g~ 
three  Hooks,  ~ji~ 

being  one  quarter  the  length  of  the  Quaver. 

Their  proportions  to  the  Crotchet  are, 


One        Two  Four  Eight 

Crotchet  Quavers.  Semiquavers.  Demisemiquavers.* 

62.  In  slow  Music,  especially  that  in  the 
church  style,  two  longer  Notes  are  used ;  the 
Semibreve  and  the  Breve. 

The  Semibreve  t  is  a  round  white  ~Z— 
Note,  without  a  Stem,  — e— 

and  is  as  long  as  two  Minims,  or  four 
Crotchets. 


*  The  Demisemiquaver  also  is  divided  in  modern  Music,  and 
the  Notes  marked  with  four  Hooks :  these  may  be  called  half 
Demisemiquavers;  and  those  which  have  five  Hooks,  quarter 
Demisemiquavers.  Playford,  Introduction  (14th  edit.  1700,)  p.  8. 
calls  the  first  of  these  a  Demiquaver  ;  which  term  is  also  used  by- 
some  other  writers.    See  Holden,p.  25,  art.  64. 

f  The  Breve  and  Semibreve  are  in  daily  use  for  our  Choir 
Service.    See  Boyce's  Cathedral  Music. 


CHAP.  III.     NOTES.  27 


The  Breve  is  a  square  white  Note,     •£-_ 


4 1 


and  is  as  long  as  two  Semibreves,  four  Minims, 
or  eight  Crotchets. 

The  proportions  of  the  three  white  Notes  are. 

One  Breve.     Two  Semibreves.        Four  Minims. 

63.    The  proportion  of  our  modern  Notes, 
both  white  and  black,  is,  therefore, 


Siliil 


One          Two             Four  Eight 

Semibreve.  Minims.     Crotchets.  Quavers. 

64.  Those  Notes  which  are  made  with 
Hooks,  may  be  grouped*  together  by  two, 
three,  or  four,  &c. 

Quavers. 

Detached.  Grouped. 


roc 


*  The  term  Grofifio,  or  Group,  is  commonly  limited  to  those 
passages  of  four  Notes  in  which  the  first  and  third  are  on  the 
same  Degree,  and  the  second  with  the  fourth  are  a  Degree  higher 
and  lower.  Koch's  Lexicon,  p.  684,  art.  Gropfio,  die  Walze. 
Playford  (p.  20)  calls  these  Hooks,  when  joined  together,  Tyes  ; 
a  term  which,  he  also  remarks  (p.  19,)  is  used  for  what  we  now 
denominate  a  Slur.  As  the  word  Tye  is  also  applicable  to  the 
Ligature  or  Bind,  the  term  Group  has  been  preferred  by  the 
Author. 


28 


I.    NOTATION. 


Semiquavers. 

Detached.  Grouped. 


Demisemiquavers. 

Detached.  Grouped. 


This  method  is  not  only  convenient  in  writing, 
but  assists  the  eye  in  ascertaining  the  propor- 
tion of  the  Notes,  and  is  of  particular  use  in 
Vocal  Music,  to  distinguish  the  Notes  which 
are  to  be  sung  to  each  syllable. 

65.  Every  Musical  Piece  is  divided  into 
equal  portions  of  time,  called  Measures.  These 
are  ascertained  by  straight  Lines,  called  Bars, 
drawn  down  the  Staff.  All  the  Notes,  therefore, 
contained  between  two  Bars,  constitute  one 
Measure.* 


mm 


*  In  common  language,  the  word  Bar  is  used  improperly  for 
Measure.  Dr.  Burney  (article  Bar>  Dr.  Rees'  Cyclopedia)  ac- 
curately limits  the  signification  of  the  term  as  above.  Dr.  B. 
ii.  191.  The  parts  of  the  Measure  are  called  Times,  by  Mr. 
Kollmann,  Essay  on  Harmony  (1796,)  p.  73. 


CHAP.  III.     NOTES.  29 

66.  Every  Measure  must  contain  a  certain 
number  of  Notes,  according  to  the  Time  mark- 
ed at  the  beginning  of  the  Movement.  Thus, 
in  Common  Time,  each  Measure  includes  a 
Semibreve,  or  its  value  in  Minims,  Crotchets, 
or  Quavers,  intermixed  as  the  Melody  requires. 
The  exact  length  of  the  Measure  is  known  by 
regularly  dividing  the  Time  into  equal  por- 
tions, whether  the  Notes  themselves  are  long 
or  short ;  as  every  Measure  must  be  precisely 
equal  in  time,  during  the  continuance  of  the 
Movement* 

67.  There  are  two  chief  species  of  Time,* 
Common  or  equal — and  Triple  or  unequal 
Time.  In  the  first,  we  count  two,  four,  or 
eight,  in  every  Measure  j  in  the  last,  we  count 
three  or  six. 

68.  I.  Common  or  equal  Time,  contains 
one  Semibreve,  two  Minims,  four  Crotchets, 
eight  Quavers,  or  their  value,  in  every  Meas- 
ure.    This  Time  is  known  by  a  Semicircle! 


*  The  Germans  adopt  a  third  species  of  Time,  containing 
four  equal  parts  in  a  Measure ;  which  will  be  noticed  hereafter, 
in  treating  of  Rhythm. 

f  The  old  doctrines  of  Time,  Mode,  and  Prolation,  may  be 
found  in  Morley,  Ravenscroft,  and  Butler.  See  an  account  of 
them,  and  of  the  original  signification  of  this  mark,  in  Dr.  B.  H» 
183,454;  Sir  J.  H,  ii.  155. 

D  2 


so 


I    NOTATION. 


placed  at  the  beginning  of  the  Staff,  after  the 
Clef,  thus  : 

(Handel :  See  the  conquering.} 


m^s^mmw 


ismiiiiiii 


69.  The  barred  Semicircle  is  used  to  denote 
a  quicker  Movement,  and  is  called  Alia  Breve  ; 
because  it  was  formerly  written  with  one  Breve 
in  a  Measure,  thus  : 

(Orlando  Gibbons,  Dr.  Boyce,  V.  II.  59  : 

0  clap  your  hands.} 


gt=^j444JU#£ 


This  is  now  more  commonly  written  with 
one  Semibreve  in  a  measure,  by  dividing  those 
of  the  Alia  Breve  into  halves. 

(Handel,  Saul,  Dr.  Arnold's  edition  of  Handel's 
Works,  No.  1 12,  p.  36  :  Our  fainting  courage.) 


j^.jjJ|Uifl"|H^^ 


70.  All  other  Measures  are  marked  by 
figures,  placed  one  over  the  other  at  the  com- 
mencement of  the  Staff, 


CHAP.  ni.     NOTES. 


SI 


The  figure  2  above  the  figure  4,  indicates 
two  Crotchets,  or  one  Minim,  in  each  Measure ; 
and  is  called  half  Time,  being  the  division  of 
the  Semibreve. 

(German  Hymn,  Pleyel.) 

71.  The  most  usual  Measures  expressed  by 
figures  placed  at  the  beginning  of  the  Staff,  are 
the  following  :* 


9 

16 


12 

8 


Of  these  Figures,  the  upper  one  shews  how 
many  parts  are  contained  in  the  Measure  ;  and 
the  lower  one  represents  a  word,  shewing  how 
many  of  these  Notes  constitute  a  Semibreve. 
2,  signifies  Minims ;  4,  Crotchets  ;  8,  Quavers, 
&c. ;  as  in  the  following  Table  : 


C3  Three 
C  2  Minims 

C3  Three         C3  Three 
C  4  Crotchets     c  8  Quavers 

C6  Six 

C4  Crotchets 

C6  Six             C  9    Nine 

C  8  Quavers      c  16  Semiquavers 

C  12  Twelve 
C  8    Quavers 

*  Grassineau's  Dictionary  (1740,)  p.  292,  article  Triple, 
contains  a  long  dissertation,  translated  from  Brossard,  on  the 
ancient  method  of  marking  these  Measures, 


32  L    NOTATION. 

72.  When  it  is  necessary  to  lengthen  a  Note 
by  half  its  value,  a  dot*  is  placed  after  it. 
Thus,  a  dotted  Minim  is  as  long  as  a  Minim 
and  a  Crotchet,  or  as  three  Crotchets. 

A  dotted  Crotchet  is  as  long  as  a  Crotchet 
and  a  Quaver,  or  as  three  Quavers.f 


i=Pi§Pl 


73.    II.  Triple,  or  unequal  Time. 
Of  this  Time  there  are  three  different  species 
in  use  \  namely, 

1.  Three  Minims,   y 

2.  Three  Crotchets,  >  in  a  Measure.J 

3.  Three  Quavers,  J 


*  The  dot  is  also  used  for  other  purposes,  viz.  to  mark  those 
Notes  which  are  to  be  played  distinctly;  as  also  to  shew  the 
place  of  repetition,  &c.  as  will  be  explained  hereafter. 

j-  All  the  Notes  of  Music  may  also  have  a  double  dot  after 
them,  which  makes  them  longer  by  three-fourths.  Thus  a 
Minim  twice  dotted,  is  equal  to  three  Crotchets  and  a  half, 
or  to  seven  Quavers,  &c. 

£  These  three  species  are  very  similar,  particularly  if  the 
two  last  are  performed  slowly ;  the  accents  of  all  three  being 
alike. 


CHAP.  III.     NOTES. 


33 


(1.)  One  dotted  Semibreve,  or  three  Minims, 
in  every  Measure  j  thus, 

(Handel's  Italian  Songs,  No,  64  :  Verdi  Prati — 
Alcina.) 


$z3=3±^f===$E=e±^=£  d 


— a^za 


7t  JQ3wf= 


-e-   •  -      -©-# 

(2.)    One  dotted  Minim,  or  three  Crotchets, 
in  every  Measure. 

(H.  S.  I.  No.  66  :  JR?//  rage— Saul.) 


■■■i^1   '  I       ■■  i|him  ■■  ■  a      '""I"" ■*■*■!    ■—■■■———.    ■  ■     ■n»i,lill^i<imwa*a 


(3.)    One  dotted  Crotchet,  or  three  Quavers, 
in  every  Measure. 

(H.  S.  II.  128  :  No,  let  the  guilty  tremble— Saul.) 


fi^gPP 


Z*Zl 


74.  When  two  Measures  of  three  Crotchets, 
or  of  three  Quavers,  are  united  in  one,  by  the 
omission  of  a  Bar,  the  Time  is  called  Com- 
pound Common  ; — Common,  because  every  Meas- 
ure is  equally  divided  ;  and  Compound,  because 
each  half  is  a  single  Measure  of  Triple, 


34  I.    NOTATION. 

IIL    Compound   Common  Time    has  three 
species,  in  general  use  : 

1.  Six  Crotchets,        "\ 

2.  Six  Quavers,        >  in  every  Measure. 

3.  Twelve  Quavers,  3 

( 1 .)  Six  Crotchets,  or  two  Measures,  of  three 
Crotchets  each,  joined  in  one. 

(H.  S.  II.  No.  124:  Every  joy — Solomon.) 


i 


yEife^ig 


(2.)  Six  Quavers,  or  two  Measures,  of  three 
Quavers  each,  joined  in  one. 

(H.  S.  IV.  No.  287 :    Sound  an  alarm — Judas 
Maccabteus.) 

75.  When  two  Measures  of  six  Quavers  are 
further  united  into  one,  they  form  a  double 
Compound  of  twelve  Quavers  in  each  Measure, 
and  are  equal  to  four  Measures  of  three  Qua- 
vers. The  omission  of  the  Bars  makes  some 
difference  in  the  appearance  of  the  Music,  and 
influences  the  counting,  according  to  the  de- 
gree of  quickness  in  which  the  piece  is  per- 
formed. But,  in  other  respects,  the  division 
of  the  Measure  has  no  power  of  altering  the 


CHAP.  III.     NOTES. 


35 


real  nature  of  the  Time  or  Tune ;  nor  can  the 
Auditor  perceive  whether  the  Triple  Time 
performed  be  expressed  by  the  figures 


12     6         3 

8       8  U      8 


(3.)  Twelve  Quavers,  or  one  Measure  of 
twice  six  Quavers,  or  four  times  three  Qua- 
vers. 

(H.  S.  I.  No.  54  :   The  peasant  tastes — Joseph.**) 


^liSlipSl 


The  same  Melody  in  six  Quavers 


The  same  Melody  in  three  Quavers 


li^H^lSg 


It  may  perhaps  be  useful  to  those  who  do 
not  perfectly  understand  the  value  of  the 
Notes,  to  separate  this  double  Compound  into 
single  Compound  and  into  simple  Triple ;  and 
also  to  turn  three  Quaver  Time  into  six  and 


*  See  also  the  Pastoral  Symphony  in  the  Messiah,  and  the  fost 
Movement  in  Corelli's  8th  Concerto, 


36  I.    NOTATION. 

twelve  Quavers,  by  striking  out  the  interme- 
diate Bars  which  separate  the  Measures. 

76.    IV.  Compound  Triple  Time. 

Compound  Triple  Time  is  formed  by  divid- 
ing the  Measures  of  simple  Triple  into  nine 
parts,  and  by  dotting  the  Measure  Note*  of 
the  original  Time.  Of  this  there  are  three 
species : 

1.  Three  Minims  divided  into  nine  Crotch- 
ets. 

2.  Three  Crotchets  divided  into  nine  Qua- 
vers. 

3.  Three  Quavers  divided  into  nine  Semi- 
quavers. 

(1.)  Nine  Crotchets?  or  three  Minim  Time, 
divided  into  Triplets. 

(Handel's  Italian  Duett,    No.   £,  p.    31  :    Va 
Speme — Randall's  edit.) 


^±z± 

The  commencement  of  this  Movement,  and 
its  other  Measures,  are  simple  Triple  j  thus, 


h  9  d  jBk+». 


*  By  Measure  Note,  is  meant  that  which  measures  the  Time 
in  the  lower  of  the  two  figures,  Art.  71,  p.  31. 


CHAP.  III.     NOTES. 


37 


By  thus  changing  the  Notation,  the  advan- 
tage is  gained  of  presenting  the  simple  Meas- 
ures clear  to  the  eye,  without  the  incumbrance 
of  a  dot  to  each  Minim.* 

(2.)  Nine  Quavers,  or  three  Crotchet  Time, 
divided  into  Triplets* 

(H.  S.  IV.  No.  319  :    Consider,  fond  shepherd—* 
Acis  and  Galatea?) 


~ehe:= 


psrpp 


fiz= 


The  commencement  of  this  Song,  and  the 
other  parts,  are  in  simple  Triple  :;*    thus, 


m 


rr*** 


eE3E™ 


±z+t 


(3.)     Nine  Semiquavers,    or    three    Quaver 
Time,  divided  into  Triplets. 

(H.  S.  II.  No.   156  :    Hush,  ye  pretty  warbling 
choir — Acis  and  Galatea*) 

:--5P=:i  * 


*  Malcolm,  p.  401. 
E 


38 


I.    NOTATION. 


The  vocal  part  of  this  Song  is  in  simple 
Triple ;  thus, 


77.  From  these  two  species  of  Compound 
Time  (Common  and  Triple,)  arise  various 
kinds  of  mixt  Measures,  which  are  in  some 
parts  equally,  and  in  others  unequally  divided.* 

(H.  S.  IV.  No.  315  :  I'll  to  the  well-trod  stage— 
UAllegro.) 


The  Tripletsf  of  Common  Time,  which  are 
here  found  in  the  place  of  each  Crotchet  of  the 
Measure,  have  sometimes  the  figure  3  placed 
over  them  ;  but  are  generally  known  by  being 
grouped  together,  and  then  form  one  of  the 
single  parts  of  the  whole  Measure. 

The  same  use  of  the  Triplet  occurs  in  Triple 
Time,  when  the  Measure  Note  is  divided  oc- 


*  Gio.  Bat.  Doni  remarks,  that  our  Morley  placed  in  differ- 
ent fiarts,  two  Notes  against  three,  and  three  against  four,  in 
the  same  Measure  or  Battuta  (Annotationi  sopra  il  Compen- 
dio.  Roma,  1640,  p.  57.)— See  Dr.  Burney  (art.  Battuta,  Dr. 
Rees'  Cyclopsedia.) 

t  Koilmann,  Essay  on  Harm.  p.  75  (chap.  xi.  §  11.) 


CHAP.  III.     NOTES. 


S9 


casionally    into    three   parts    inptead   of  two  \ 
thus, 

(H.   S.   V.   No.    328 :    Far    brighter  than  the 
morning*) 


In  slow  Common  Time,  when  the  Quaver  is 

the  Measure  Note,  and  is  divided  into  three 
Semiquavers,  instead  of  two,  then  the  Time  is 
really  24  Semiquavers.* 

(H.  S.  III.  No.  240  :  Cease,  0  Judah— Deborah.) 


m 


p.  — 


Si* 


ii— ari«lHi«*~ 


Kzife^rr 


A  similar  passage  of  Semiquavers  is  found  in 
the  Triple  of  Quavers. 

(H.  S.  L  No.   14:    The  enemy  said— -Israel  in 
Egypt.) 


illpippii 


When  the  Measure  itself  is  compound,  as 


*  Holden,  p.  20.  art.  27. 


40  I    NOTATION. 

Six  Quavers,  then  the   Triple   Subdivision  is 

18 

16      Of  this,  an  example  may  be  seen  in  H.  S. 

III.  No.  181  :  The  raptured  soul— Theodora. 

The  same  number  of  Triplets*  (viz.  six)  is 
also  found  in  the  simple  Triple  of  three  Crot- 
chets,   and  in   the    Compound    Triple    of   six 

1 8 

Quavers,     An  example  of     fi  as  derived  from 

3 

may  be  found  in  Dr.  Haydn's  2d  Sonata, 

1 8 
Op.  17,  p.   10  j    and  another  of    fi  as  derived 

from*     in  the  same  author's  3d  Sonata,  Op.  13, 

p.  16. 

78.  There  is  also  a  species  of  Time,  called 
Quintuple,  which  contains  live  Crotchets  in  a 
Bar  \  but  it  is  very  seldom  used. 

Tartini  considered  this  Quintuple  propor- 
tion as  unfit  for  Melody,  and  impossible  to  be 
executed.  Time  has  shewn,  that  neither  of 
these  judgments  was  well  founded.! 


*  The  Germans,  in  imitation  of  these  (which  they  term 
Trioles,)  place  sometimes  5,  7,  &c.  small  Notes  in  the  Time  of 
4,  6,  &c.  of  the  same  denomination,  and  term  them  Quintoles, 
Septimoles,  8cc.    Koch's  Lexicon  (1802,)  art.  Triole,  Sec. 

t  Tartini,  Trattato  (1754,).  p.  114.  Dr.  B.  i.  82.  Mr. 
Reeves'  Gypsey  Glee :  "  O  who  has  seen,"  contains  a  last 
Movement  in  five  Crotchet  Time — "Come  stain  your  cheek" 
—which  produces  a  very  good  effect. 


CHAP.  III.      NOTES.  41 

SECT.  IV.— OF  THE  ACCENT  OF  NOTES. 

79.  The  Bars  of  Music  are  not  only  useful 
for  dividing  the  Movement  into  equal  Meas- 
ures, but  also  for  shewing  the  Notes  upon 
which  the  Accent  is  to  be  laid. 

The  Measures  of  Common  Time  are  divided 
into  four  parts ;  of  these,  the  first  and  third 
are  accented  ;  the  second  and  fourth  unac- 
cented. In  the  course  of  this  Work,  the  ac- 
cented will  be  termed  strong  parts,  and  the 
unaccented,  weak  parts  of  the  Measure.* 

(H.  S.  II.  No,  119:    Praise  the  Lord— Esther.) 


Strong  weak  S.       w.  S.      w.      S.     w. 

80.  The  Measures  of  Triple  Time  consist  of 
three  parts  ;  the  first  strong,  the  two  others 
weak  ;  although  the  last  part  is  rather  strong, 
in  comparison  of  the  middle  part.f 


*  See  Rousseau,  Dictionnaire  (1768,)  art.  Temps;  Sultzer's 
Theorie  (1773,)  art.  Tact. 

The  author  has  translated  the  Temfis  fort  et  foible  of  the 
French  writers  rather  than  the  Tempo  buono  e  cattivo,  of  the 
Italians,  or  the  Gute  und  Schlechte  Tactzeit  of  the  Germans. 
See  Koch's  Lexicon  (1802,)  art.  Tact. 

+  Dr.  Burney  (art.  Accent,  Dr.  Rees'  Cyclopaedia.) 
E  2 


42 


I.    NOTATION. 


(H.  S.  III.  No.   233:    Up  the  dreadful  steep— 
Jephtha.) 

Pippiiiieiii 


S.   w.   s. 


S.    w.   s. 


S.   w.   & 


w.   s. 


81.  In  slow  Common  Time  the  Accents  are 
more  frequent ;  but  they  are  found  in  the  same 
proportion  on  the  first,  third,  fifth,  and  seventh 
Quavers,  which  are  the  strong  parts,  while  the 
second,  fourth,  sixth,  and  eighth,  are  the  weak 
parts. 

In  three  Crotchet  Time,  when  divided  into 
Quavers,  the  first,  third,  and  fifth  Quavers  are 
strong  ;  the  second,  fourth,  and  sixth,  weak. 

In  six  Quaver  Time,  the  first  and  fourth 
Quavers  are  strong  ;  the  others  weak.* 

82.  From  the  nature  of  Accent  arises  the  ne- 
cessity of  beginning  some  Movements  with  only 
part  of  a  Measure  \  thus, 

(1.)  With  a  single  weak  part. 


(H.S.III.  No.  163 


The  smiling  dawn — Jephtha.} 

iii&iium! 


*  An  example  of  the  same  Melody  in  these  two  different 
Measures,  may  be  found  in  Dr.  Arnold's  Lessons,  Op>  XII. 
Lesson  2,  p.  4. 


CHAP.  III.     NOTES. 

(2.)  With  a  half  Measure. 


43 


(H.  S.  III.  No.  162  :  Welcome  as  the  cheerful  day 
—Jephtba.) 


^m§i=iil 


The  following  Melody,  barred  in  two  dif- 
ferent ways,  produces  two  opposite  effects,  the 
Accents  falling  upon  different  Notes. 

Scotch  Air — Corn  riggs. 

Original  Melody. 


jpumiii! 


w.         s. 
The  same,  barred  differently. 


Epropi 


S.    w, 

S3,  When  the  Composer  intends  that  the 
weak  parts  of  the  Measure  should  be  made  of 
more  importance  than  the  strong  parts,  such 
deviation  from  the  regular  Accent,  in  this 
Work,  will  be  termed  Emphasis. 

In  passages  like  the  following,  the  Quavers 
are  often  grouped  together  according  to  the 


44  1.    NOTATION. 

Emphasis,  and  not  (as  in  general)  according  to 
the  Accent. 

(Haydn's   Symphony,    No.  III.    performed  at 
Salomon's  Concert.) 


-=-—**? -r T- 


ft- 


•tmmmim 


Accent.  Emphasis.  Accent. 

In  the  two  first  Measures  of  this  Example, 
the  Quavers  are  grouped  according  to  the  Ac- 
cent ;  in  the  third,  according  to  the  Emphasis,* 
contrary  to  the  Accent ;  and  in  the  fourth, 
the  Accent  again  resumes  its  importance. 

The  Italian  words,  Rinforzando,  Sforzato,f 
or  their  contractions,  Rinf.  Rf.  Sforz.  Sf 
are  often  used  to  mark  the  Emphasis,  and 
sometimes  are  placed  over  accented  Notes. 

As  every  species  of  Measure  may  be  subdi- 
vided by  Accents,  according  to  the  degree  of 
quickness  in  which  it  is  performed  ;  so  also  the 
weak  parts  of  every  Measure  may  be  occa- 
sionally made  emphatic  at  the  pleasure  of  the 
Composer. 


*  The  Germans  divide  Accent  into  two  principal  species — 
Grammatical  and  Rhetorical :  the  first  is  here  termed  Accent, 
the  last,  Emphasis.  .  g 

f  The  difference  between  Rinf.  and  Sforz.  is  explained  by 
Mr.  Shield  (introduction  to  Harmony,  1800,)  p.  SB. 


CHAP,  in.-     NOTES. 


45 


84.  To  this  species  of  effect  may  be  referred 
all  syncopated  or  driving*  Notes,  which  begin 
on  the  weak,  and  end  on  the  strong  part  of  the 
Measure. 

(Vanhall's  Overture  in  C — periodical,  No.  42.) 


m^mw^m 


In  this  Example,  the  Emphasis  is  on  the 
syncopated  Minims,  which  begin  on  the  second, 
and  end  on  the  third  part  of  the  Measure. 

(H.   S.   I.   No.    6 :    How   vain   is   man— Judas 
Maecabaus.) 


iHpiiliiiig 


In  this  Example,  the  Emphasis  is  on  the 
syncopated  Crotchets,  which  begin  on  the 
second  and  sixth  (or  the  weak,)  and  end  on 
the  third  and  seventh  (or  the  strong)  parts  of 
the  Measure. 


*  Morley  (edit.  1597,)  p.  90  (edit.  1771,)  p.  100.  Butler,  p.  64. 
Simpson,  p.  19.  Pepusch,  p.  57.  Rameau,  p.  112.  Holden,  p.  34, 
art.  98.    Kolimann,  Essay  on  Hannonv,  pf  96  (chap.  xiii.  §  21.) 

Dr.B.LlOfr- 


46 
CHAP.  IV. 

OF  THE  RESTS. 


Art.  85.  When,  in  the  course  of  a  Move- 
ment, silence  is  required  for  one  or  more  parts 
of  a  Measure,  that  silence  is  denoted  by  a 
Rest,  or  Rests,  which  are  counted  exactly  in 
the  same  time  as  their  corresponding  Notes 
would  be,  if  performed. 

The  Rests  of  the  white  Notes  are  made  in  the 
middle  of  the  Staff ;  thus, 


Rest  of  the  Breve.    Semibreve.    Minim. 


(l.)  The  Breve  Rest  extends  from  Line  to 
Line. 

(2.)  The  Semibreve  Rest  is  made  below  the 
Line. 

(3.)   The  Minim  Rest  is  made  above  the  Line.* 

The  Semibreve  Rest  is  also  used  in  Triple 
and  Compound  Time,  to  express  the  silence  of 
one  whole  Measure  ;  and  the  Breve  Rest  is 
used  for  the  silence  of  two  Measures. 


*  The  Rest  of  four  Semibreves,  or  two  Breves,  passes  through 
two  Spaces.  This  is  only  used  in  the  single  parts  of  Instrumental 
Pieces.    Rousseau,  art.  Baton. 


CHAP.  IV.     RESTS.  £$ 

In  this  last  instance,  the  figure  2  is  generally 
placed  over  the  Rest ;  thus, 


ese~ 


86.    The  Rests  of  the  black  Notes  are  made 
thus, 


(1.)    The  Crotchet  Rest  turns  to  the  right. 

(2.)    The  Quaver  Rest  turns  to  the  left. 

(3.)  The  Semiquaver  Rest  turns  to  the  left? 
and  has  two  marks* 

(4.)  The  Demisemiquaver  Rest  has  three 
marks,  and  turns  to  the  left  also. 

As  the  Rests  are  inserted  in  the  Measures^ 
to  fill  up  the  Time  when  no  Sounds  are  to  be 
heard,  the  Performer  should,  of  course,  pay 
particular  attention  to  the  termination  of  the 
Notes  which  precede  them. 

In  playing  Keyed  Instruments,  the  Rests  are 
often  much  neglected ;  and,  unless  the  Player 
carefully  raise  the  finger  from  the  Key  (but 
not  too  far)  at  the  exact  commencement  of  the 
Rest,  the  intended  effect  is  destroyedo 


48  I.    NOTATION. 

An  instance  of  the  great  attention  necessary 
to  be  paid  to  these  signs,  is  shewn  in  the  fol- 
lowing Example,  where  the  variety  of  these 
three  Measures  wholly  depends  on  the  Rests, 
the  Music  being  exactly  the  same  in  every 
other  respect  of  Tune,  Time,  and  Accent.* 


*  The  Author  is  induced  to  insert  here,  in  addition  to  these 
remarks  on  the  observance  of  Rests,  the  excellent  ideas  of  C.  P. 
Em.  Bach  (Versuch.  edit  1787,  p.  85,  Vom  Vortrage,)  upon  the 
true  method  of  playing  Keyed  Instruments. 

An  abridgment  of  his  system  is  thus  attempted  in  a  few  lines. 

"  To  form  a  clear,  pleasing,  and  expressive  Performer,  three 
things  are  requisite : 

"1.  To  play  correctly,  by  covering  every  Note  with  the  finger 
before  it  is  struck  (when  possible,)  so  that,  in  the  most  difficult 
passages,  the  motion  of  the  hands  may  be  scarcely  perceived 
(p.  13.) 

"  2.  To  make  the  Instrument  sing,  by  taking  one  finger  off  the 
Key  at  the  instant  the  other  strikes  the  following  Note ;  and  by 
never  playing  the  Notes  short  or  detached,  except  when  expressly 
marked  (p.  88.) 

"  3.  To  play  with  expression,  by  forcing  the  finger  down  upon 
the  Key  (already  covered  and  lightly  touched,)  according  to  the 
Accent  or  Emphasis  "  (p.  93.) 

On  this  subject  see  also  dementi's  Introduction,  p.  15.  Dus- 
sek's  Instructions,  p.  8.    Hullmandel's  Principles,  p.  19. 


49 
CHAP.  V. 

OF  THE  SHARPS,  FLATS,  &c. 


Art.  87.  In  explaining  the  tune  of  Notes 
(Art.  45,  p.  20,)  the  two  different  intervals  of 
Tone  and  Semitone  have  been  noticed.  Every 
Tone  in  the  Natural  Scale,  is  divided  into  two 
Semitones,  by  an  intermediate  Sound.  This 
Sound  is  produced,  upon  Keyed  Instruments, 
by  striking  the  short  Key  inserted  between  two 
long  ones,  which  are  consequently  Tones  to 
each  other. 


SECT.  I—OF  THE  SHARPS. 

88.  When  the  short  Key  is  to  be  played, 
instead  of  the  natural  Note  below  it  (on  the 
left,)  then  the  same  letter  is  used,  with  the 
additional  term  sharp.* 


*  The  character  now  used  for  the  Sharp,  was  originally 
designed  to  represent,  by  its  four  cross  lines,  the  four  Com- 
mas of  the  Chromatic  Semitone.  Such  is  the  signification  of 
the  mark  given  by  Bontemfii  (1695,)  p.  205,  from  the  Recane- 
tum  of  Vannto  (Roma,  153S ;)  but  Marcheto  de  Padua,  who 
first  employed  it  (1274,)  does  not  mention  this  circumstance. 
See  Gerbert,  Scriptores  Ecclesiastici  (1784,)  iit»  73,  89,  Dc,  R 
ii.  163,  351.    Sir  J.  H.  178. 

F 


oO 


I.    NOTATION. 


89.  Thus,  to  make  another  fourth  similar 
to  the  upper  one  of  C  (Art.  50,  p.  22,)  with 
two  Tones  and  a  Semitone,  and  placed  imme- 
diately above  it,  at  the  distance  of  a  Tone  ; 
the  F  natural  must  be  omitted,  and  the  F 
sharp  taken  in  its  stead. 

-see 


P- 


& 


The  character  placed  before  F  is    called  a 

Sharp* 

90.  These  two  Fourths  united,  form  a  new 
Scale,  of  which  G  is  the  Key  Note,  exactly 
similar  to  C,  but  five  degrees  higher.  Its  de- 
scending series  proves,  by  the  Melody,  that 
the  Tones  and  Semitones  aire  between  the  same 
Degrees  of  the  Scale. 


msig-iii 


91.    As  the  Scale  of  G  is  made  complete  by 
this  alteration  of  the  F  alone,  F  is  reckoned  the 
first  Sharp. 


*  The  Germans  consider  this  character  as  an  alteration  of 
the  letter  B,  and  call  it  a  Cross  (Kreuz,)  or  latticed  B  (Gegit- 
tertes  Be,  B  cancellatum,)  Adlung  (Hiller's  edit.  1783,)  p.  251. 
Sir  J.  H.  iv.  163.  They  also  adcl  the  syllable  IS  to  the  names 
of  those  letters  of  the  Scale  which  are  sharpened.  Thus  Fis, 
Cis,  Gis,  Dis,  Ais,  Eis  and  His,  signify  F,  C,  G,  D,  A,  E,  and 
B  Sharp. 


CHAP.  V.     SHARPS,  FLATS,  &c.  51 

For  a  similar  reason  (that  of  forming  a  new 
fourth  above  the  upper  one  of  G  Scale,)  C  is 
termed  the  second  Sharp.*  Thus  the  series  of 
Sharps  ascends  by  fifths ;  which,  in  respect  of 
the  Letters,  is  the  same  as  descending  by- 
fourths. 

F     C     G    D     A 

12         3        4         5 

These  sharps  are  performed,  on  Keyed  In- 
struments, with  the  five  short  Keys  above  ; 
that  is,  on  the  right  hand  of  the  long  ones : 
the  division  of  twot  consists  of  C  sharp  and 
D  sharp  ;  the  remaining  three  are  F  sharp,  G 
sharp,  and  A  sharp. 

92.  But,  since  there  are  no  short  Keys  be- 
tween E  and  F,  nor  between  B  and  C,  which 
are  only  Semitones  to  each  other  (Art.  46,  48, 
p.  20,  21,)  F  natural  is  employed  to  express 
E  sharp,  and  C  natural  to  express  B  sharp. 

When  these  Notes,  E  and  B,  become  sharp- 
ened, their  own  long  Keys  are  never  used ;  and, 
by  their  introduction,  the  series  of  Sharps  is 
extended  to  all  the  seven  Notes. 

F     C     G    D    A    E     B 

12        3         4         5        6        7 

*  The  French  use  the  term  Diese,  derived  from  the  Greek 
word  Diesis,  and  annex  it  to  the  syllables  of  Guido.  Thus, 
Fa-diese  signifies F  sharp;  Ut-diese,  C  sharp,  8cc. 

j  See  Art.  32,  p.  15. 


52  I.    NOTATION. 


SECT.  IL-OF  THE  FLATS. 

93.  When  the  short  Key  is  to  be  played,  in- 
stead of  the  natural  Note  above  it  (on  the 
right,)  then  the  same  letter  is  used,  with  the 
additional  term  fiat.* 

Thus,  to  make  another  fourth,  similar  to 
the  lower  one  of  C  (Art.  50,  p.  22,)  with  a 
Semitone  and  two  Tones,  placed  also  below  it, 
(extending  to  the  left,)  at  the  distance  of  a 
Tone,  the  B  natural  must  be  omitted,  and  the 
Bfiat  taken  in  its  stead. 


The  character  placed  before  B  is  called  a 

Flat. 


*'  The  mark  now  used  for  the  Flat,  was  originally  the  letter 
B,  introduced  to  avoid  the  Tritone  or  sharp  Fourth,  between  F 
and  B  natural.  By  the  ancient  writers  (Guido,  &c.)  it  was 
termed  B-molle ;  that  is,  the  soft,  or  (according  to  some)  the 
moveable  B.    See  Gerbert  (De  Cantu,  1774,  ii.  72.) 

Walther's  Lexicon  (1732)  contains  a  long  article,  and  an  ex- 
tract, from  Simon  de  Quercu  (1509)  on  the  subject  Before 
the  literal  Notation  of  the  middle  ages,  and  its  present  appel- 
lation, B  flat  was  employed  as  the  Trite  or  third  sound  (de- 
scending,) of  the  SynemmenoD:  or  conjunct  Tetrachord  of  the 
Greek  Scale. 


CHAP.  V.  SHARPS,  FLATS,  &c.       53 

94.  These  two  fourths  united,  form  a  new- 
Scale,  of  which  F  is  the  Key  Note  ;  exactly 
similar  to  C,  but  five  Degrees  lower.  Its  de- 
scending series  proves,  by  the  Melody,  that 
the  Tones  and  Semitones  are  between  the  same 
Degrees  of  the  Scale. 


im 


3© 


m 


95.  As  the  Scale  of  F  is  made  complete  by 
this  alteration  of  B  alone,  B  is  reckoned  the 
first  Flat.*  For  a  similar  reason  (that  of  form- 
ing a  new  fourth  below  the  lower  one  of  the 
F  Scale,)  E  is  termed  the  second  Flat.  Thus 
the  series  of  Flats  ascends  by  fourths,  which, 
in  respect  to  the  letters,  is  the  same  as  descend- 
ingby  fifths. 

B    E    A    D    G 

1       2        3        4        5 


*  This  character  was  formerly  of  such  importance,  that  it 
is  enumerated  by  Gafurius  among  the  Clefs  (see  the  Note,  p.  8,) 
and  was  accounted  the  Clef  of  the  F  Hexachord,  as  the  other 
two  Clefs,  now  called  Tenor  and  Base,  were  of  the  G  and  C 
Hexachords.  These  letters  were  selected  from  the  seven,  to 
shew  the  places  of  the  three  Semitones,  in  the  three  different 
Scales  of  Guidoy  termed  naturale,  durum,  and  molle  ;  and,  being 
the  highest  sounds  of  the  two  which  formed  each  Semitone,  were 
always  sung  with  the  syllable  Fa. 
V  2 


54i  I.    NOTATION. 

These  Flats  are  performed,  on  Keyed  Instru- 
ments,  with  the  five  short  Keys  below ;  that  is, 
on  the  left  of  the  long  ones :  the  division  of 
two  consists  of  E  flat  and  D  flat  \  and  the  other 
three  are  B  flat,  A  flat,  and  G  flat*  For  the 
reason  given  (Art.  92,  p.  51,)  concerning  the 
Sharps,  B  natural  is  employed  to  express 
C  flat9  and  E  natural  is  employed  to  express 
F  flat.  Thus  the  whole  series  of  seven  Flats 
is  completed, 

B    E    A    D    G    G    F* 

12        3        4567 

This  series  is  exactly  the  reverse  of  that 
given  of  the  Sharps  (Art.  92,  p.  51.)  . 

It  must  be  recollected,  that  every  one  of  the 
short  Keys  has  two  different  letters  for  its 
name,  according  to  the  natural  Note  for  which 
it  is  employed. 

Thus,  the  middle  Key  of  the  three  short  ones 
is  equally  used  as  the  third  Sharp  in  the  place 


*  The  Germans  add  the  syllable  es  to  the  names  of  the  letters 
which  are  flat  (except  B,  which  retains  its  original  signification;) 
and  their  series,  B,  Es,  As,  Des,  Ges,  Ces,  and  Fes,  correspond 
to  the  Scale  given  above.  See  also  Dr.  B.  ii.  73,  392,  upon  the 
subject  of  B  flat. 

The  French  use  the  term  bemol,  from  the  Latin,  and  annex  it 
to  the  Vocal  Syllable :  thus,  Si  bcmol  is  B  flatj  Mi  bemol,  E 
fiat,  &c. 


CHAP.  V.     SHARPS,  FLATS,  &c.  QB 

of  G  natural  below  it,  and  as  the  third  Flat  in 
the  place  of  A  natural  above  it. 

96.  When  any  number  of  Sharps  or  Flats 
are  placed  after  the  Clef,  at  the  beginning  of 
the  Staff,  they  affect  all  the  Notes  of  the  same 
letter  in  every  Octave  throughout  the  Move- 
ment, and  are  termed  the  Signature, 

Those  which  occur  in  the  course  of  the 
Movement,  in  addition  to  the  others,  are  term- 
ed accidental*  to  distinguish  them  from  those 
of  the  Signature,  which  are  essential  to  the 
Scale  of  the  original  Key  Note. 

The  accidental  Flats  and  Sharps  only  affect 
the  Notes  which  they  immediately  precede* 
and  those  of  the  same  letter  which  follow  them 
in  the  same  Measure  j  but,  if  one  Measure  ends, 
and  the  next  begins,  with  the  same  Note,  the 
accidental  Character  which  alters  the  first  Note* 
is  understood  to  affect  the  second. 


*  Naumberger  (of  Reading,  Berkshire,)  in  his  translation  of 
Turk's  Klavier  Schule  (1804,)  p.  4,  translates  the  German 
term,  Versetzung-zeicben,  Marks  of  Transposition.  Kollmann5 
Essay  on  Harmony,  p.  8,  calls  them  Accidentals.  See  alsa 
Malcolm,  p.  3§5.    Hoita,  p.  21,  art,  57 >■ 


58  I.    NOTATION, 


SECT.  III.— OF  THE  NATURAL. 

97.  When  any  Note,  which  has  been  ele- 
vated by  a  Sharp,  or  depressed  by  a  Flat,  is 
to  be  restored  to  its  original  place,  the  char- 
acter called  a  Natural  *  is  employed ;  which 
lowers  the  sharpened  Note,  or  raises  the  flat- 
tened Note  ;  thus, 


The  Natural,  although  a  very  ancient  char- 
acter, was  not  used  by  Morley,  Simpson,  or 
Playford.  They  always  employed  the  Flat  to 
take  away  the  Sharp,  and  the  Sharp  to  take 


*  Gafurius  (Practica,  fol.  2,)  asserts  that  the  character  of 
the  Natural,  or  B  Quadrum  (i.  e.  Quadratum,)  is  formed  of 
two  Greek  Gammas  joined  invertedly  {conversim  conjunct  a  ;) 
but  it  is  generally  described  as  a  Gothic  or  square  B,  made  in 
that  form  to  distinguish  it  from  the  round  B,  which  expressed 
the  Flat. 

The  ancient  printers,  not  having  a  proper  type  cast  to*  rep- 
resent this  character,  used  the  small  letter  h ;  a  specimen  of 
which  may  be  seen  in  the  Dialogo  of  Vincentio  Galilei  (1581,) 
p.  4.  Adlung  (edit.  1783,)  p.  196,  attributes  the  German 
method  of  using  the  letter  H,  instead  of  B  natural,  to  the  same 
cause.  See  Koilmann,  Essay  on  Composition  (1799,)  p.  52.  Sir 
I  H,  v.  254 


CHAP.  V.     SHARPS,  FLATS,  &c.  5*7 

away  the  Flat,  in  the  same  manner  as  we  now 
use  the  Natural.* 

Hence  are  found,  in  old  Music,  the  Sharp 
before  B,  and  the  Flat  before  F ;  not,  as  now, 
to  represent  B  Sharp  and  F  Flat;  but  merely 
to  take  away  a  preceding  Flat  or  Sharp. 

The  Natural,  although  evidently  an  accidental 
Character,  and  a  more  general  expression  for 
the  two  others  (the  Sharp  and  the  Flat,)  is 
sometimes  placed  essentially  at  the  beginning 
of  a  Strain,  when  a  former  part  of  the  same 
Movement  has  had  a  Sharp  or  Flat  in  ks  Sigr 
nature.  (See  Steibelt's  Sonatas,  Op.  37,  Tur- 
kish Rondo,  p.  10.)  According  to  its  power, 
therefore,  of  raising  or  lowering  any 'Note  of 
the  Scale,  the  Natural  must  be  always  consid- 
ered as  representing  a  Sharp  or  a  Flat  A 


*  The  German  Scale  of  the  natural  Notes  is  A,  H,  C,  D,  E, 
F,  G ;  not  A,  B,  C,  &c. ;  the  B  is  always  reserved  to  express 
B  Flat. 

The  French  call  the  Natural  Bequarre  (Rousseau.) 

f  In  Handel's  Song  of  Pious  Orgies,  Judas  Maccabaus  (No.  1,) 
the  Natural  is  frequently  employed ;  and,  in  one  particular 
Measure,  sharpens  the  Treble  and  flattens  the  Base.  More  con- 
cerning these  characters  may  be  found  in  Butler,  p.  21 ;  Simp- 
son, p.  5;  and  Holden,  p.  16,  art.  43.  Turner  (p.  51,)  calls  the. 
Natural  a  Mark  of  Restoration. 


38  I.  NOTATION, 


SECT.  IV.— OF  THE  DOUBLE  SHARP. 

98.  After  all  the  Notes  of  Music  have  been 
made  sharp,  the  same  series  of  letters  begins 
again,  and  F,  being  the  first,  takes  the  name  of 
F  double  sharp.* 

It  is  performed,  on  Keyed  Instruments,  by- 
striking  the  long  Key  G  natural ;  which  is 
not,  however,  to  be  reckoned  then  as  a  Tone 
from  F  natural,  being  placed  on  the  same  de- 
gree as  F  (Art.  47,  p.  20,)  and  also  consisting 
of  two  Chromatic  (or  Minor)  Semitones. 


*  The  Double  Sharp  is  sometimes  marked  with  a  single 
cross,  thus,  +>  which,  according  to  Vanneo  (see  the  Note, 
p.  49,)  originally  represented  the  two  Commas  of  the  Quarter- 
tone,  or  enharmonic  Diesis,  and  which  properly  represents  the 
distance  between  the  F  double  sharp  and  the  G  natural. 

Keeble  (Harmonics,  1784,)  p.  196,  censures  Kircher  and 
Zarlino  for  the  improper  use  of  this  character.  See  Kircher, 
Musurgia  (1650,)  i.  145,  659.  Zarllno  (1589,)  i.  363.  Salinas 
(1577,)  p.  121.  Padre  Martini,  Storia  (1757,)  i.  97, 108.  Lemme 
Rossi  (1666,)  p.  45.    Sir  I  H.  I  110. 


CHAP.  V.     SHARPS,  FLATS,  8cc.  59 


SECT.   V— OF  THE  DOUBLE  FLAT. 

99.  In  the  same  manner,  after  all  the  seven 
Notes  of  Music  have  been  made  flat,  the  same 
series  of  letters  begins  again  with  B  \  and  that, 
being  the  first,  takes  the  name  of  B  double 
flat* 

It  is  performed  by  striking  the  long  Key  A 
natural  two  Chromatic  Semitones  lower.  It  is 
worthy  notice,  that,  as  the  first  Sharp  is  the 
lowest,  and  the  first  Flat  the  highest  of  the 
three  short  Keys  which  are  near  to  each  other ; 
so  the  first  Double  Sharp  and  the  first  Double 
Flat  (the  only  two  in  general  use)  are  played 
with  the  two  long  Keys  which  are  enclosed  by 
F  sharp  and  B  flat. 


§ 


-----  E — fe-zfeSa 


*  The  Germans  have  sometimes  employed  a  large  B,  as  tlfe 
character  of  the  Double  Flat.  The  difficulties  arising  from 
this  mark  are  stated  by  Turk  (Klavier  Schule,  1789,)  p.  50. 
Dussek,  in  his  Introduction,  p.  36,  unites  the  two  B's  with  a 
kind  of  hook,  similar  to  the  grouping  of  Quavers  (Art.  64, 
p.  27.)  The  German  names  for  the  Double  Sharps,  are,  Fisfis* 
Ciscis,  &c. ;  and  for  the  Double  Flats,  Bebe,  Eses,  Asas,  Desdes? 
&c.    Adlung,  p.  254. 


60  I.    NOTATION, 

100.  As  these  two  Characters,  viz.  the 
Double  Sharp  and  the  Double  Flat,  seldom 
occur,  the  mode  of  restoring  the  single  Sharp, 
or  Flat,  after  the  use  of  the  double  Character, 
varies  with  different  authors.*  Some  use  a 
single  Sharp  or  Flat ;  some  employ  a  Natural, 
or  else  unite  the  single  Sharp  or  Flat  with  the 
Natural  ;f  thus,  bj  :fy  H  b  i  and  others  again 
leave  the  passage  to  the  ear  and  judgment  of 
the  performer,  who  ought  (they  suppose,)  if 
able  to  play  in  seven  Sharps,  to  know  how  to 
restore  the  altered  Note  to  its  proper  situation, 
svithout  any  particular  mark. 


*  Even  in  respect  of  the  Double  Sharp,  instances  are  founjd 
m  Handel,  where  it  is  not  distinguished  by  any  particular 
mark,  but  where  only  a  common  single  Sharp  is  placed  against 
F,  already  sharp  in  the  Signature.  See  H.  S.  i.  No.  9:  Fly 
from  the  threatening. 

j-  Some  of  the  writers  in  Germany  are  (as  Turk,  p.  52,  ob- 
serves,) precipitate  in  their  judgments,  and  therefore  fre- 
quently erroneous.  G.  F.  Wolfe  (1783,)  p.  22.  Lohlein  (1765,)  p. 
XI.    Tube!  (1767,)  p.  9.    Merbach  (1782,)  p.  1& 


61 


CHAP.  VI. 

OF  GRACES,  CHARACTERS,  MARKS  OF  EXPRES 
SIOJY,  AJYD  ABBREVIATIONS. 


SECT.  I.— OF  GRACES. 

Art.  101.  As  the  German  authors,  C.  P. 
Emanuel  Bach,  and  G.  D.  Turk,  have  treated 
at  large  on  the  subject  of  Musical  Graces  (Ma- 
nieren,*)  a  short  sketch  of  their  doctrines  will 
here  be  given. 

102.  The  principal  Graces  of  Melody  are, 
the  Appoggiatura,  the  Shake,  the  Turn,  and 
the  Beat ;  with  the  Mordent,  Beat,  Slide,  and 
Spring,  peculiar  to  the  Germans.  The  chief 
ornaments  of  Harmony  are,  the  Arpeggio,  Tre- 
mando,  &c.f 

*  Bach,  p.  45.    Turk,  p.  207. 

f  The  old  English  Graces,  published  by  Simpson  (Division 
Viol,  1667,)  as  defined  by  Dr.  Colman,  are  divided  into  two 
classes, — the  smooth  and  the  shaked  Graces.  In  the  first  class  are 
the  Beat,  Backfall,  double  Backfall,  Elevation,  Springer,  and 
Cadent;  in  the  second  are  the  shaked  Backfall,  close  Shake, 
shaked  Beat,  shaked  Elevation,  shaked  Cadent,  and  double  Rel- 
ish. (See  also  Playford,  p.  100.) 
G 


62 


I.    NOTATION. 


103.  I.  The  Appoggiatura*  (Vorschlag)  is 
a  small  Note  placed  before  a  large  one  of 
longer  duration,  from  which  it  generally  bor- 
rows half  the  value,  and  always  occurs  on  the 
strong  part  of  the  Measure. 


I 


e 


The  Appoggiatura,  as  written. 


ZEZ2ZZ1 


t 


As  performed. 


^sSig^i 


1 04.  Sometimes,  however,  the  Appoggiatura 
is  only  one  quarter  of  the  Note  it  precedes,  as 
in  the  following  Example  ;  thus, 


-T2— - *4s 


iS 


J==T-i==F 


LiLMIltf 


*  Dr.  Bnrney,  art.  Afifioggiatura.    Dr.  ReesJ  Cyclopaedia. 


CHAP.  VI.  GRACES,  CHARACTERS,  &c.   63 

105,  When  a  small  Note  follows  a  larger 
one,  and  depends  upon  that  for  its  time,  the 
name  of  After-Note  (Nachschlag)*  will  be 
used  in  this  Work,  to  distinguish  it  from  the 
Appoggiatura. 

This  Grace  always  occurs  on  the  weak  part 
of  the  Measure. 


$ 


gg|agg|iggg§g|§ 


Sgi|piipi! 


106.  The  Germans  divide  these  Notes, 
which  do  not  constitute  the  essential,  but  the 
ornamental  parts  of  Melody,  into  two  classes. 
I.  Passing  Notes  {Durehgehende  Noten  ;) 
and  II.  Changing  Notes  (Wechsehide  No- 
ten  ;)  but  the  ^Appoggiatura,  when  it  is  a  sus- 
pension of  the  large  Note  before  it,  as  in  the 
Example  just  adduced  (Art.  103,)  does  not 
belong  to  either  class.  These  will  be  explained 
in  the  Third  Part  of  this  Work,  upon  Har- 
mony. 


*  The  German  word  Nachschlag,  is  also  used  to  express  the 
turn  of  the  Shake, 


64 


1    NOTATION. 


107.  II.  The  Shake*  (Triller)  consists  of  a 
quick  alternate  repetition  of  the  Note  above, 
with  that  over  which  the  mark  is  placed ;  and 
commonly  ends  with  a  turn  from  the  Note  be- 
low.    It  is  usually  defined  thus : 


Written. 


Performed. 


In  this  Example  the  upper  Note  is  accented  : 
there  are,  however,  instances  in  which  the 
Composer  seems  to  have  designed  that  the 
lower  Note,  or  that  over  which  the  Shake  is 
placed,  should  be  accented  ;  thus, 

(Handel's  second  Organ  Concertos,  Dr.  Arnold's 
edit.  No.   124,  p.  9.) 


The  principal  or  written  Note  of  the  Shake 
(over  which  the  Character  is  placed,)  is  called 
by  the  Germans  the  Haupt-ton  ;  and  the  second- 
ary or  superior  Note,  the  Hiilfston. 


*  Bach,  p.  51.  Turk,  p.  252.  Sir  J.  H.  iv.  469.  Dr.  B. 
iii.  528,  616.  dementi,  p.  11.  Dussek,  p,  6.  Hullniand<sh 
p.  27. 


CHAP.  VI.  GRACES,  CHARACTERS,  &c.   65 

108.  The  following  method  of  practising 
the  Vocal  Shake,  has  been  communicated  to 
the  Author  of  the  present  Work  by  his  friend 
Mr.  Greatorex,  to  whom  it  was  given  at  Rome, 
in  the  year  1786,  by  Santarelli,  Chapel-Master 
to  the  Pope. 


i 


& 


«*..And  so  descending  through- 
out the  Scale. 


Performed  in  practice  thus: 


T^ms&m 


109.  A  series  of  continued  Shakes,  on 
Notes  rising  or  falling  by  Degrees,  is  called 
by  the  Germans  Triller  Kette,  and  by  the 
Italians  Catena  di  Trilli,  both  signifying  a  chain 
ef  Shakes* 

G2 


66 


I.    NOTATION, 


110.  The  Passing  Shake*  (Prall  Triller) 
is  expressed  in  Germany  by  a  particular  char- 
acter ;  and  its  definition  varies  with  different 
Masters,  and  in  different  passages.  The  ex- 
planation of  Dr.  Arnold  (Op.  XII.  p.  38)  is 
therefore  given  here,  with  the  mark  he  adopted 
for  it. 


Written. 


Performed 


The  Mordente  of  the  Italian  School  is  used 
in  similar  passages,  and  performed  thus  i 


Some  remarks  on  the  various  methods  of 
performing  these  Graces,  are  given  by  de- 
menti (Introduction,)  p.  11. 


*  Turk,  p.  272. 


CHAP.  VI.  GRACES,  CHARACTERS,  &c.   67 


111.  III.  The  Turn*  (Doppehchlag)  employs 
the  Note  above  and  that  below,  in  the  follow- 
ing manner : 


Written. 
00 


Thus,       or  thus. 


Performed. 


I 


Thus,        or  thus. 


112.    The  Inverted  Turn  begins  from  the 
Note  below. 

(Dr.  Arnold,  Op.  XII.  p.  38.) 

Written.  Performed. 

e 


^mm  Slgp 


The  Turn  on  the  dotted  Note  is  in  frequent 
use. 

Written. 
Performed. 


iS^P 


*  Bach,  p.  61. 


es 


l    NOTATION. 


113.  IV.  The  Beat*  is  the  reverse  of  the 
Shake  (but  without  the  Turn,)  and  made  gen- 
erally at  the  distance  of  the  Semitone  below  ; 
therefore  all  the  Natural  Notes,  excepting  C 
and  F,  require  the  Note  below  them  to  be  ac- 
cidentally sharpened  for  the  Beat, 


Written. 


H^i 


**    & 


S=§=! 


*    0 


Performed. 


/~\ 


The  Beat  upon  B  natural,  however,  is  sel- 
dom made  with  A  sharp,  on  account  of  the 
great  harshness  arising  from  the  vicinity  of  the 
Semitone  B  C. 

In  some  cases  of  regular  ascent,  it  is  recom- 
mended not  to  make  the  Beat  with  the  Semi- 
tone, unless  particularly  marked.  (See  de- 
menti, p.  11.) 


?  Battemenl.    Turk,  p.  281. 


CHAP.  VI.    -GRACES,  CHARACTERS,  &c.        69 

114.  In  the  Half  Beat  (Zusammenschlag) 
the  inferior  Note  is  struck  only  once,  and  at 
the  same  time  with  the  principal  Note,  but  is 
immediately  quitted.  This  is  frequently  used 
upon  the  Organ,  and  particularly  in  the  Base.* 
It  may  be  written  by  a  small  Note,  like  a  short 
Appoggiatura,  and  is  very  similar  to  the  Ac- 
tiaccatura\  of  the  Italians. 


IIS.  In  the  Third  Part  of  this  Work,  upon 
Harmony,  will  be  shewn  how  the  Diatonic 
Suspensions  and  Transitions  arise  from  the 
Appoggiatura  and  the  After  Note  ;  while  the 
Chromatic  Licenses  are  derived  from  the  Ac- 
eiaccatura  or  Half  Beat,  These  Graces  are 
therefore  of  very  great  theoretical  importance. 


*  Kollman,  Essay  on  Composition,  p.  98,  terms  it  a  Base- 
Grace,  and  shews  how  it  is  employed  to  strengthen  the  parts,  and 
to  supply  the  want  of  Pedals. 

-j-  Dr.  Burney,  art.  Acciaccatura.  Dr.  Rees'  Cyclopaedia, 
Gasparmi  (Armonico  Prattico,  1729,  edit.  3d,)  p.  63. 


70 


L    NOTATION. 


116.  V.  The  German  Mordent*  (Beisser) 
is  a  -pedes  of  Beat,  commencing  with  the  Note 
itself,  and  is  either  long  or  short ;  thus, 


^ong. 


Short. 


This  differs  considerably  from  the  Mordente 
before  described  (Art.  110,  p.  66,)  being  made 
with  the  next  Degree  below.  That  of  the 
Italian  School  always  employs  the  next  Degree 
above. 

117.  VI.  The  German  Beatf  (Anschlag) 
consists  of  two  small  Notes,  which  form  a  Skip, 
and  descends  one  Degree  upon  the  principal 
Note. 


Written. 


Performed. 


In  the  Translation  of  Turk  (p.  26,)  Naum- 
berger  calls  this  Grace  a  double  Appoggiatura. 

*  Bach,  73.    Turk,  275. 
t  Bach* 77.    Turk,  24lr 


CHAP.  VI.  GRACES,  CHARACTERS,  &c   71 

118.  VIL  The  German  Slide*'  (SMeifer) 
consists  of  two  small  Notes,  which  move  by 
Degrees;  thus, 

Written. 


PiptepPF^I 


Performed. 


119.  VIII.  The  German  Spring  (Schnel- 
kr)  consists  of  two  small  Notes,  like  the  Italian 
Mordente,  but  very  distinct  \  thus, 


Written. 


Performed. 


120.  All  these  Graces  are  liable  to  the 
occasional  alteration  of  any  of  their  Notes,  by 
Sharps,  Flats,  or  Naturals ;  and,  in  that  case, 
the  Composer  is  expected  to  mark  them  as  they 
are  to  be  performed. 


*  Bach,  80.    Turk,  245. 
t  Bach,  83,    Turk,  251. 


72  I.    NOTATION. 

121.  To  these  Graces  of  Melody  may  be 
added  those  of  Harmony  ;  the  Tremolo  (Be- 
bung?)  or  reiteration  of  one  Note  of  the  Chord ; 
the  Tremando,  or  general  shake  of  the  whole 
Chord  ;  and  the  Arpeggio  (Brechung,)  or  imita- 
tion of  the  Harp,  by  striking  the  Notes  of  the 
Chord  in  quick  and  repeated  succession. 

122.  Clementi  (Introduction,)  p.  9,  has  given 
an  explanation  of  two  different  characters  used 
for  a  Chord  (or  combination  of  several  sounds 
struck  together,)  upon  Keyed  Instruments. 

(1.)  When  a  Waving  Line  is  placed  verti- 
cally before  the  Chord,  the  Notes  are  played 
successively,  from  the  lowest  ascending  to  the 
highest,  and  retained  down  the  full  time  of  the 
Chord. 

(2.)  When  an  Oblique  Line  passes  through 
the  Chord,  it  is  played  as  before,  with  the  ad- 
dition of  a  Note*  where  the  oblique  Line  is 
placed  ;  but  this  added  Note  is  not  to  be  kept 
down. 

Written.      Played. 


*  This  added  Note  is  the  Acciaccatura  before  described, 
(Art  114,  p.  69,)  and  answers  to  the  Zuiamme?i€chlag  of  the 
Germans.    Turk,  279. 


CHAR  VI.  GRACES,  CHARACTERS,  Sec.    73 
SECT.  IL— OF  THE  CHARACTERS. 

123.  Those  Characters  used  in  Music  which 
do  not  form  a  part  of  any  particular  class,  like 
the  Clefs,  Notes,  Rests,  Sharps,  Flats,  Natu- 
rals, or  Graces,  are  the  Tye  or  Ligature,  the 
Pause,  the  Repeat,  the  Direct,  the  Single 
Bar,  and  the  Double  Bar.  But,  as  the  Tye 
is  similar  in  form  to  the  Slur,  it  will  be  classed 
among  the  Marks  of  Expression  in  the  next 
Section. 

1 24.  The  Pause  *  is  placed  over  a  Note, 
to  signify  that  the  regular  time  of  the  Move- 
ment is  to  be  delayed,  and  a  long  continu- 
ance of  the  Sound  made  on  that  part  of  the 
Measure. 

(H.  S.  II.  No.  82  :  Bless' d  the  day — Solomon.) 


*  Butler,  p.  38,  calls  the  Rests  Pauses,  and  the  Pause  a 
Close.  The  Italian  term  is  Coronata^  Zaccharia  Tevo  (1705,) 
p.  55 ;  and  the  German,  Fermate,  Petri,  (Anleitung,  1782,) 
p.  145.    Holdeiv  p.  37,  calls  the  Pause  a  Hold. 

The  Pause,  when  found  on  the  last  Note  but  one  of  a  Mel- 
ody,   is  a  sign  for  the  Vocal   or   Instrumental    Performer   to 
introduce   such    extemporary   passages,  previous   to  the  final 
Shake,  as  are  generally  termed  a  Cadenza. 
H 


74 


I.    NOTATION. 


125.  If  the  Pause  is  placed  over  a  Rest, 
then  a  stop  of  considerable  length  is  made  ; 
and  the  part  must  be  silent. 

(KL  S.  I.  No.  31 :    Let  festive  joy — Belshazzar.) 


ZEbtt 


ili^ipi 


fe 


126.  The  same  character  is  employed  for 
another  purpose  in  those  Songs  of  Handel, 
Hasse,  Vinci,  &c.  which  have  a  second  part, 
and  are  marked  Da  Capo,.* 


(H.  S.   II.  No.    151 :    As  when  the  Dove— Acts 

and  Galatea*} 


3; 


Eft 


j££$ffi'f.f-ir£lf.l 


The  Pause,  in  this  Example,  only  shews  the 
Note  upon  which  the  piece  is  finally  to  termi- 
nate ;  but  it  is  not  always  followed  by  the 
Double  Bar. 


*  Da  Capo  are  two  Italian  words,  which  signify  from  the  be- 
ginning, and  are  frequently  -joined  with  al  ;Segno,  which  mean, 
that  the  Performer  is  to  return,  and  to  commence  the  Repeat 


CHAP.  VI.  GRACES,  CHARACTERS,  Sec.   ?g 


127.  The  Repeat*  ($)  is  a  sign  employed  to 
shew  the  place  to  which  the  Performer  must 
return  to  repeat  the  passage.  It  is  usually 
found  in  Rondos  and  Da  Capo  Airs  ;  and  it 
marks  that  place,  in  the  first  strain,  where  the 
repetition  is  to  commence.  This  mark  is  called 
in  Italian,  Segno,  or  the  Sign. 

(H.  S.  I.  No.  153:    War  he  sting — Alexander's 
Feast.) 


:z=z==:pri:z~=dr3zizr=zs:zfi  ^ezs:~zz3 


128.  The  Direct^  (aV)  is  a  sign  employed 
at  the  end  of  the  Staff,  to  shew  upon  what 
Degree  the  first  Note  of  the  following  Staff  is 
placed. 

(Rameau,  Treatise,  p.  168.) 


mm  nm 


*  Mark  of  Repetition.    Morley,  p.  74.    Simpson,  p.  19.    Mal- 
colm, p.  411. 

j-  The  Direct  is  called  by  Morley  (p.  22,)  Index  or  Director. 
Butler,  p.  37.    Holden,  p.  38,  art.  113. 


76 


I.    NOTATION. 


129.  The  Single  Bar*  has  been  already 
mentioned  (Art.  65,  p.  28)  as  dividing  the 
movement  into  equal  portions  or  Measures.  It 
is  considered  in  Germany  as  a  mark  of  the 
grammatical  Accent ;  since  the  first  Time  f  of 
every  Measure  is  always  a  strong  part,  and  is 
distinguished  by  a  particular  pressure. 

When  the  inner  sides  of  two  Bars  are  dotted, 
all  the  Measures  between  them  are  to  be  re- 
peated. See  an  instance  of  this  kind  of  repe- 
tition, 

(H.  S.  I.  No.  68  :    Sin  not,  0  King— Saul.) 


llpiiii 


The  word  Bis  (twice)  is  sometimes  placed 
over  passages  of  this  kind,  whether  the  Bars 
are,  or  are  not  dotted. 


*  Butler,  p.  38,  terms  the  ancient  thick  single  Bar  the  im/ier- 
Ject  Close.    Simpson,  p.  19.    Malcolm,  p.  411. 

f  -  The  Author  is  induced  to  adopt  the  expression  of  the 
ancient  authors,  and  to  call  the  parts  of  the  Measure,  Times. 
Art.  65,  p.  28.  See  also  Malcolm,  p.  399.  The  particular  utility 
of  the  term  will  appear  in  the  Fourth  Part  of  this  Work,  upon 
Rhythm. 


CHAP.  VI.  GRACES,  CHARACTERS,  &c.    77 

ISO.  The  Double  Bar*  is  placed  always  at 
the  end  of  a  Movement,  and  is  sometimes  used 
at  other  parts,  to  shew  the  rhetorical  termina- 
tion of  a  Strain. 

If  the  Double  Bar  is  dotted  on  one  or  both 
sides,  all  the  Measures  on  the  same  side  with 
the  Dots  are  to  be  repeated  from  the  begin- 
ning, or  from  the  antecedent  Double  Bar. 

131.  When  the  rhetorical  termination  of  a 
Strain  does  not  coincide  with  the  grammatical 
Accent,  the  Double  Bar  is  then  totally  distinct 
from  the  Single  Bar,  and  the  Measures  are  only 
reckoned  between  the  single  Bars,  although  the 
Double  Bar  may  intervene. 

(H.  S.  V.  374  :    Above  Measure — Se??iele.) 

This  Double  Bar  does  not  affect  the  Measure 
in  which  it  is  placed,  but  the  time  is  kept  ex- 
actly as  if  it  were  not  inserted. 


*  Omithoparcus,  p.  52,  calls  this  a  Rest  General;    considers 
it  as  analogous  to  the  other  Rests  described,  Art.  85,  p.  46, 
and  places  it  in  the  same  class  of  characters. 
H  2 


78  I.    NOTATION. 

132.  As  it  appears,  from  the  preceding  ob- 
servations, that  the  Double  Bar  is  very  different 
and  distinct  from  the  Single  Bar,  the  gram* 
matical  use  of  the  latter  must  not  be  con- 
founded with  the  rhetorical  employment  of 
the  former. 

133.  If  every  piece  of  Music  ended  with  a 
complete  Measure,  and  if  the  necessity  of  com- 
mencing with  single  Times  (Art.  82,  p.  42,)  did 
not  sometimes  exist,  the  Double  Bar  might  be 
neglected ;  but,  as  it  is  important  to  mark  the 
termination  of  those  Strains  which  have  their 
last  Measures  incomplete,  this  character  is 
adopted,  and  the  Double  Bar  bears  the  same 
relation  to  the  Strain  as  the  Single  Bar  does  to 
the  Measure. 

134.  Every  Measure  contains  a  certain 
number  of  Notes  (Art.  66,  p.  28,)  which  are 
terminated  by  the  Single  Bar;  and  every 
Strain*  includes  a  certain  number  of  Measures, 
which  are  terminated  by  the  Double  Bar. 


*  The  rhetorical  division  of  the  Strain  into  Phrases,  Sections, 
and  Periods,  with  the  utility  of  the  Casure,  will  be  explained 
in  the  Fourth  Part  of  this  Work,  upon  Rhythm ;  and,  as  the 
Comma,  Semicolon,  and  Full  Stop  of  Elocution,  have  all  their 
respective  analogies  in  Musical  Punctuation,  by  the  Phrase, 
Section,  and  Period ;  so  also  the  Colon  is  found  to  resemble 
that  final  part  of  a  Movement  which  is  termed  the  Coda, 


CHAP.  VI.     GRACES,  CHARACTERS,  &c.        7& 


SECT.  III.— OF  THE  MARKS  OF  EXPRESSION. 

135.  The  chief  Marks  of  Expression  are, 
the  Slur,  and  the  Dash  or  Point ;  to  which  may 
be  added  the  Tye,  or  Ligature. 

136.  The  Tye*  is  an  arch  drawn  over  two 
Notes  on  the  same  Degree,  uniting  them  into 
one.  Upon  Keyed  Instruments,  the  first  only 
is  struck  ;  but  the  finger  is  kept  down  during 
the  time  of  both* 

(H.  S.  III.  No.  1 80 :    Our  fruits — Joseph. 


137.  The  Tye  is  also  used  to  express  those 
syncopated  Notes  which,  in  ancient  Music,, 
were  divided  by  the  Bar. 

(Corelli,  Concerto  I.  Opera  6th.) 


m 


inm! 


See  Note,  p.  27,  of  this  Work,    Holden,  p.  38,  art,  114. 


so 


I.    NOTATION. 


138.  The  Slur*  is  a  similar  arch,  drawn 
over  two  or  more  Notes,  upon  different  De- 
grees^ and  signifies  that  all  the  Notes  are  to 
be  played  as  smoothly  and  as  much  united  as 
possible.  In  Vocal  Music,  it  is  placed  over  or 
under  all  the  Notes  which  are  to  be  sung  to  the 
same  syllable* 

(H.  S.  III.  No.  191  :    Our  limpid  streams — 
Joshua.) 


ilEEEFEE 


139.  'When  the  Slur  is  placed  only  over 
two  Notes,  the  second  is  generally  made  shorter 
than  its  proper  length.  Formerly,  this  effect 
was  produced  by  exact  Notation. 

(H.  S.  I.  No.  1  :    Pious  Orgies — Judas.) 

lSElES^fe4£plz£gEpEgij 


*  In  the  Translation  of  Turk  (p.  26,)  the  term  Slur  is  ap- 
plied to  the.  Grace,  Art.  118,  p.  71,  called  Schleiffer,  or  a 
Slide. 


CHAP.  VI.  GRACES,  CHARACTERS,  &c.   81 


140.  Tlie  Dash  *  is  a  small  stroke,  placed 
over  those  Notes  which  are  to  be  performed  in 
a  very  short  and  distinct  manner. 

(H.  S.  III.  No.  182:.  Descend,  kind  pity — 
Theodora.) 


M 


=iiy=3 


141.  The  Point  is  a  mark  employed  by 
many  authors  instead  of  the  Dash  ;  but  its 
principal  use  is  to  distinguish  those  Notes 
from  which  an  intermediate  effect,  different 
from  the  Slur  or  the  Dash,  is  required,  and 
yet  uniting  both. 

(H.  S.  I.  No.  61  :    Comfort  ye — Messiah.') 


MHgM 


When  these  passages  are  performed  on 
Keyed  Instruments,  the  finger  is  not  kept 
close,  as  in  the  Slur,  nor  raised,  as  in  the  Dash, 
but  dropped  gently  on  the  Note,  and  taken  off 
before  the  Time  is  wholly  completed. 


*  Holden,  p.  39,  art.  114. 


82  I.    NOTATION. 

142.  There  are  other  Marks  of  Expression, 
which  have  been  lately  adopted,  to  express  the 
effect  of  certain  Italian  terms.* 

(1.)    Crescendo,  or  increasing  the  sound 
from  soft  to  loud,  is  marked  by  an  angle,    <^ 
the  lines  extending  to  the  right. 

(2.)    Diminuendo,   or   diminishing   the 
sound  from  loud  to  soft,  by  the  contrary   > 
sign. 

The  union  of  both,t  indicates 
that  the  first  part  of  the  passage 
is  to  be  soft,  the  middle  loud,  and  <0> 

the  last  soft  again,  as  the  figure 
shews. 

(3.)  Rinforzando  is  denoted  by  smaller  marks 
of  the  same  kind,  >  <  which  are  to  increase 
or  diminish  the  Note  as  marked. 

*  Clementi,  p.  9.    Dussek,  p.  45. 

f  Mr.  Shield  (p.  14.)    See  also  Art.  83,  p.  44,  of  this  Work, 


CHAP.  VI.     GRACES,  CHARACTERS,  Sec.        83 


SECT.  IV— OF  ABBREVIATIONS. 

143.  When  the  same  Note,  or  similar  pas- 
sages, are  to  be  repeated,  much  time  is  saved 
to  the  Composer  and  Copyist,  by  the  use  of 
Abbreviations. 

A  single  stroke,  over  or  under  a  Semibreve, 
or  through  the  Stem  of  a  Minim  or  Crotchet, 
divides  them  into  Quavers;  a  double  stroke 
into  Semiquavers;  and  a  triple  stroke  into 
Demisemiquavers ;  thus, 

(H.  S.  I.  No.  18  :  Let  the  bright  Seraphim — 
Samson.} 


144.  These  passages,  in  Italian  Music,  had 
formerly  the  word  Crome,  (Quavers,)  or  Se- 
microme  (Semiquavers,)  annexed  to  them.  At 
present  we  often  use  the  term  Segue,  to  signify 
that  we  must  perform  the  following  Notes  in 
the  manner  in  which  the  first  are  marked. 


84  I.    NOTATION. 

145.  Another  kind  of  Abbreviation  is  very 
frequently  used  in  modern  Music,  viz.  group- 
ing the  Stems  of  Minims  like  those  of  Quavers 
.(Art.  64,  p.  27.) 

(PleyeFs  Duos,    Viol,    and  Violonc    Op.  12, 
p.  2,  Violino.) 

^  Written. 


Several  other  species  of  Abbreviation  are 
given  in  Koch's  Lexicon,  art.  Abkurzung  ;  and 
also  in  dementi,  p.  8.     Shield,  p.  124,  &c. 


*:nd  of  the  first  part. 


85- 

PART  II. 

MELODY. 

CHAP.  I. 

'OF  .INTERVALS. 


SECT.  I— OF ,  INTERVALS  IN  GENERAL. 

Art.  146.  A  particular  succession  of  single 
sounds  forms  a  Melody*  or  Tunej  as  in  the 
following  Example : 

(God  save  the  King.) 

:~=s:iiE=E=p™ 


ggEHfflmg 


*  This  simple  and  popular  definition  of  Melody,  only  pre- 
sents an  outline  of  the  true  idea  annexed  to  the  term.  In  a 
more  extensive  sense,  Melody  implies  not  only  the  progres- 
sion of  one  single  part,  but  also  that  general  result  of  the  va- 
rious parts  in  Harmony  which  produce  the  effect  of  Melody 
by  the  proper  distribution  of  their  sounds.  Prinz  seems  to 
have  been  the  first  who  distinguished  between  the  Monodic 
Style,  in  which  the  Melody  is  confined  to  one  single  part, 
and  the  Polyodic  Style,  in  which  the  Theme,  and  its  dependent 
subjects,  are  distributed  among  the  different  parts  of  the 
composition.  These  two  epithets,  Prinz  appears  to  have 
taken  from  Kircher;  and  this  profound  and  original  view  of 
I 


86 


II.    MELODY. 


147.  Melody  has,  in  respect  of  Tune,  twe 
distinct  Motions  j  that  of  Degrees,  and  that  of 
Skips.* 

A  Melody  proceeds  by  Degrees,  when  it 
moves  to  the  next  Line  or  Space  above  or  be- 
low, as  in  the  following  Example  : 

(Let  ambition  fire  thy  mind.f) 


gggHiiS 


148.  A  Melody  proceeds  by  Skips,  when  it 
omits  one  or  more  Degrees,  as  in  the  following 
Example  : 

(When  warlike  ensigns. J) 
-m — 


ilsCTliil 


Melody  has  been  very  ably  developed  by  Nichelman  of  Ber- 
lin, who  clearly  proves,  that  those  pieces  which  are  produced 
by  the  Monodic  design  of  the  Composer,  are  far  inferior  to  the 
Polyodic  arrangement  of  the  same  ideas.  In  this  last  class  we 
may  place  the  Motetts  of  Palestrina,  the  Choruses  of  Handel, 
and  the  Symphonies  of  Haydn.  See  Prinz  (Satyrical  Com- 
poser, Part.  III.  chap.  xi.  p.  97;  chap,  xviii.  p.  131,)  1696. 
Kircher  (Musurgia,  i.  p.  531.)    Nichelman  (Melodie,)  1755. 

*  These  expressions  in  Italian,  are  di  grado  and  di  salto. 

|  Composed  by  John  Weldon  (1699)  in  the  Judgment  of 
Paris,  and  afterwards  introduced  in  the  Comic  Opera  of  Love 
in  a  Village.    Sir  J.  H.  v.  63.    Dr.  B.  iv.  653. 

%  Occasional  Oratorio,  1745  (Handel's  Songs,  i.  No.  13,} 
Dr.  Arnold's  edit,  No.  104,  p,  22?. 


CHAP.  I.     INTERVALS.  87 

149.  In  general,  Degrees  and  Skips  are  inter- 
mixed ;  as  in  the  Melody  of  the  Easter  Hymn, 

(Jesus  Christ  is  risen  to-day.*) 

1 50.  The  Degreesf  and  Skips  of  Melody  are 
both  called  by  the  general  term  Interval ;  which 
is  the  distance  between  two  Sounds,  or  their 
difference  in  respect  of  Pitch.  Every  Interval, 
therefore,  implies  two  Sounds  \  one  acute  ^  the 
other  grave ;  in  common  language,  high  and 
low ;  and  as,  in  measuring,  it  is  usual  to  con- 
sider the  termination  of  distance  more  than  the 
space  contained  ;  so,  in  Music,  the  Notes  which 
limit  the  Interval,  are  both  called  by  the  name 
of  the  Interval  itself.  Thus,  from  the  F  Clef 
to  the  C  Clef,  is  contained  the  Interval  of  a 
fifth,  both  terms  inclusive  ;  and  C  is  said  to  be 
a  fifth  above  F,  and  F  a  fifth  below  C. 


*  Printed  by  Walsh  in  1708,  in  a  Collection  of  Divine  Songs 
and  Hymns,  entitled  Lyra  Davidka.  The  Air  is  found  at 
page  11,  but  written  in  Quavers. 

t  The  word  Degree  has  already  been  applied  to  the  five 
Lines  and  four  Spaces  of  the  Staff;  but  it  is  necessary  to  extend 
its  signification  further,  and  to  comprehend  in  it  the  term  Inter- 
val; since,  in  the  Chromatic  Semitone,  B  flat  and  B  natural  are 
on  the  same  Degree,  and  yet  produce  different  Sounds,  forming 
thereby  a  distance  or  Interval. 


88  IX    MELODY. 


SECT.  II.— OF  THE  NAMES  OF  INTERVALS* 

151.  The  names  of  Intervals  are  derived  from 
the  number  of  Degrees  which  are  contained  be- 
tween the  two  Sounds ;  both  extremes  being 
reckoned  inclusively.  Thus  the  Interval  of  a 
Second  consists  of  two  Degrees  j  and  as  these 
may  be  distant  from  each  other,  either  by  one 
Tone,  or  by  one  Semitone,  there  are  consequent- 
ly  two  kinds  of  Seconds,  viz.  a  Major  Second 
br  Tone,  and  a  Minor  Second  or  Semitone. 

152.  The  Natural  Scale  of  Music,  which, 
proceeding  by  Degrees,  includes  both  Tones 
and  Semitones,  is  called  Diatonic ;  a  word 
compounded  of  Dia  and  Tonic,  from  the  Greek 
Dia  through,  and  Tonos,  a  Tone  j  because 
the  greater  number  of  Intervals  in  the  Scale, 
viz.  five  out  of  seven,  are  Tones. 

153.  The  Diatonic  Scale  includes  all  the  dif- 


*  The  inaccuracies,  which  sometimes  occur  in  very  respec- 
table Authors,  concerning  Intervals,  arise  from  adopting  the 
terms  of  common  language  without  sufficient  precaution.  See 
Kallmann's  Thorough  Bass  (1801,)  p.  2.  Shield,  p.  4.— For 
example,  the  distance  from  one  place  to  another  may  be  two 
miles,  as  the  Interval  from  the  Note  C  to  the  Note  D  is  formed 
of  two  Semitones ;  and  as,  when  we  arrive  at  either  place,  we 
say  this  is  (the  end  of)  two  miles ;  so  at  D  we  say  this  is  (from  C) 
a  Tone ;  and  at  C,  this  is  (from  D)  a  Tone ;  yet  the  two  Sounds 
only  form  the  Interval  of  two  Semitones. 


CHAP.  I.     INTERVALS.  89 

ferent  Intervals*  formed  by  the  Natural  Notes, 
and  also  all  those  which  are  produced  in  trans- 
posing  the  Natural  Scale  higher  or  lower,  by 
the  employment  of  Sharps  and  Flats.  Those 
Intervals  which  exceed  the  limits- of  the  Oc- 
tave, as  the  ninth,  tenth,  eleventh,  &c.  being 
only  replicates  of  the  second,  third,  fourth, 
&c.  are  omitted  here,  but  will  be  particularly 
noticed  in  treating  of  Harmony. 

Those  Intervals  which  are  less  than  the  Dia- 
tonic Semitone,  as  from  F  to  F  sharp,  &c.  will 
be  distributed,  with  all  other  Intervals  derived 
from  them,  into  proper  classes  in  the  third 
Chapter  of  this  Part,  upon  the  Genera. 


*  It  may  not  be  improper  to  remark,  that  a  considerable 
difficulty  arises  from  the  distribution  of  Intervals  upon  Keyed 
Instruments,  and  that  the  Student  does  not  readily  perceive 
how  an  Interval  is  to  be  found  between  two  Keys,  as  B  and 
C,  or  E  and  F,  which  are  close  together.  The  method  of  stop- 
ping- the  Violin,  or  the  Frets  on  the  Guitar  and  Lute,  shews 
the  nature  of  Intervals  much  more  clearly.  For  instance,  the 
third  string  of  the  Violin  is  tuned  to  the  once-marked  D  (Art.  37, 
p.  17 ;)  but  when  shortened  by  one-ninth  of  the  space  be- 
tween the  Nut  and  the  Bridge,  will  sound  E,  a  lone  higher  ; 
one-sixteenth  of  the  remaining  length  being,  further  taken* 
the  sound  F,  a  Semitone  higher,  is  heard.  A  just  idea  of  In- 
tervals is  hereby  obtained ;  and,  as  the  latter  is  nearly  half 
the  magnitude  of  the  former,  the  Interval  from  D  to  E  is 
called  a  Tone,  and  from  E  to  F  a  Semitone,  being  real  Spaces 
taken  upon  the  length  of  the  string1. 
12. 


90  H.    MELODY. 


SECT,  m.— OF  THE  FOURTEEN  DIATONIC 
INTERVALS. 


154.  As  the  Intervals  take  their  names  from 
the  number  of  included  Degrees,  so  also  their 
species  are  ascertained  by  the  epithets,  Major 
and  Minor,  given  them,  according  to  the  num- 
ber of  Tones  or  Semitones  contained  inclusively 
between  their  extremes.  If  the  Intervals  were 
all  equal  in  the  Scale,  eight  Degrees  would  form 
only  seven  Intervals  ;  but,  as  there  are  two  dif- 
ferent distances  of  Semitone  and  Tone,  for 
which  the  Notation  by  the  StafF  alone  does  not 
provide,  there  are  consequently  fourteen  Diato- 
nic Intervals.  These  are  distinguished  by  the 
term  Major  or  Minor,  greater  or  lesser,  and,  in 
some  few  cases,  sharp  or  flat. 

155.  I.  The  Unison^  or  the  same  identical 
sound,  although  it  cannot  properly  be  reckon- 
ed an  Interval,  is  always  considered  as  such, 
when  employed  in  Harmony;  it  is  therefore 
inserted  here  among  the  Intervals  of  Melody. 
The  present  opportunity  may  be  taken  of  im- 
proving the  Student  in  the  practice  of  the  seven 
Clefs,  and  shewing  their  practical  utility* 


CHAP.  I.     INTERVALS. 


91 


Example  of  the  Unison,  or  the  same  Sound 
being  the  once-marked  C  (Art.  37,  p.  17)  in 
all  the  Clefs. 


-e- 


e— 4Uf=r- 


il"*'MMI*i,He0f 


Example   of  the   Descending   Scale   of  the 
once-marked  Octave  in  the  G  and  C  Clefs. 


I 


s::©: 


pzJzs 


_Q_ie_ 


C     B 


A     G 


F     E 


D     C 


Descending  Scale  of  the  small  Octave  (Art, 
36,  p.  16)  in  the  C  and  F  Clefs. 


II 


so; 


•T\i- 


Ei 


§:zez| 


:z§=s: 


C     B 


A     G 


F     E 


D     C 


156.  II.  The  Minor  Second  is  formed  by 
two  Sounds,  at  the  distance  of  a  Diatonic  Se- 
mitone, as  B  C  and  E  F.  C  is  a  Minor  Se- 
cond higher  than  B,  and  B  a  Minor  Second 
lower  than  C.  The  same  is  true  with  respect 
to  E  and  F.  This  Interval  is  sometimes  called 
the  Flat  Second ;    and  the  term  is  useful  in 


92  II.    MELODY. 

Harmony.  It  is  found  also  in  the  other  Scales, 
between  F  sharp  and  G,  B  flat  and  A,  &c.  as 
in  the  following  Example  : 


SHi§ 


55 


:=SZ=q: 


'muzz§.z:: 


All  these  are  Diatonic  Semitones,  and  form 
Minor  or  Flat  Seconds.* 

157.  III.  The  Major  Second  or  Tone,  al- 
though composed  of  two  Semitones,  does  not 
consist  of  two  equal  parts.  This  is  evident  from 
the  Notation  itself;  for,  if  the  Tone  from  F  to 
G  be  divided  by  the  Sound  F  sharp,  then  the 
Intervals  between  F  sharp  and  G,  or  the  Dia« 
tonic  Semitone,  will  not  be  the  same  as  that 
from  F  to  F  sharp,  or  the  Chromatic  Semi, 
tone.  The  former  changes  one  Degree,  the 
latter  remains  on  the  same  Degree  ;  and  hence 
the  former  is,  according  to  the  theory  of  Zar- 


*  From  this  statement,  the  nature  of  Melody,  when  Sharps 
and  Flats  are  employed,  may  be  readily  perceived ;  for,  after' 
a  Sharp.,  the  part  rises,  and  after  a  Flat  the  part  Jails.  Thus 
also  E  and  B  have  the  effect  of  Sharps,  and  the  Melody  in 
general  ascends  to  F  and  C ;  on  the  contrary,  F  and  C  have 
the  effect  of  Flats,  and  the  Melody  in  general  descends  to  E 
and  B.  The  importance  of  these  remarks  cannot  be  justly 
appreciated  till  the  transposition  of  the  Natural  Scale  into  two 
Sharps  and  into  two  Flats,  and  also  the  use  of  the  Semitone  in 
Harmony,  is  understood. 


CHAP.  I.     INTERVALS. 


93 


lino,  Rameau,  and  Pepusch,  something  larger 
than  the  latter.  The  Tones  and  other  Inter- 
vals of  the  Natural  Scale  are,  in  this  Work, 
separated  into  Semitones,  &c.  by  the  character 
called  a  Direct. 


te 


5~^W- 


The  other  Tones  introduced  by  transposi- 
I  tion,  are, 


158.    IV.  The  Minor  Third  is  composed  of 

three   Degrees,   and   contains   a  Tone   and   a 

!  Diatonic  Semitone  between  the  two  extremes  $ 

\  thus, 


UD, 


It  is  also  divisible  into  three  Semitones,  two 
\  Diatonic  and  one  Chromatic ;  thus, 


™Q~s!ll2£z:§: 


— » — -bw1 — ^■w:■ — 22 — 


94  II.    MELODY. 

159.  V.  The  Major  Third*  is  composed  of 
three  Degrees,  and  contains  two  Tones  between 
the  extremes  j  thus, 


iJE5E^EEi§IE!=¥E3 


— ©r-w- 


It  is  also  divisible  into  four  Semitones,  two 
Diatonic  and  two  Chromatic  \  thus, 


§5 _:^:^-Z_j_a-^z:^_^^_D_. 


160.  VI.  The  Perfect  Fourth  is  composed 
of  four  Degrees,  and  contains  two  Tones  and  a 
Semitone  between  the  extremes ;  thus, 

It  is  also  divisible  into  five  Semitones,  three 
Diatonic  and  two  Chromatic  \  thus> 


— e-«A\£- 


*w~w*f — ^- 


i 


*  The  Major  and  Minor  Thirds  were  formerly  called  Sharfi 
and  Flat  Thirds.  These  equivocal  terms  were  justly  rejected 
by  Dr.  Boyce  (in  his  Cathedral  Music,)  and  changed  to.  greater 
and  lesser. 


\ 


CHAP.  I.     INTERVALS.  95 

J  61.  VII.  The  Sharp*  Fourth  is  composed 
•f  four  Degrees,  and  contains  three  Tones  be- 
tween the  extremes,  called  by  the  Ancients,  on 
that  account,  Trigone, 


£ 


:^=^=§:z 


It  is  also  divisible  into  six  Semitones,  three 
Diatonic  and  three  Chromatic  ;  thus, 


ozK^—?£z*t 


W~iW' 


i 


162.  These  seven  Intervals  (the  Unison  in- 
cluded) may  be  considered,  in  a  practical  point 
of  view,  as  primary  ;  since,  if  they  are  rightly 
understood,  all  the  remaining  seven  are  easily 
known,  being  only  compounded  of  these.  Thus, 
the  Fifth  is  formed  by  uniting  two  of  the 
Thirds  ;  the  Sixth,  by  the  Fourth  and  Third  ; 
the  Seventh,  by  the  Fifth  and  Third ;  and  the 
Octave  by  the  Fourth  and  Fifth.  Compared 
with  the  Unison,  Second,  Third,  and  Fourth, 
as  primary  ;  the  Fifth,  Sixth,  Seventh,  and 
Eighth,  are  secondary.  This  arrangement, 
however  useful  in  the  analysis  of  Melody,  is 


*  The  reason  why  the  terms,  Perfect  and  Sharfi,  are  used  to 
the  Fourths,  while  Major  and  Minor  are  applied  to  the  Sec- 
onds and  Thirds,  will  appear  in  the  next  Chapter,  upon 
Concords  and  Discords. 


M  H.    MELODY. 

imperfect  with  respect  to  Harmony,  and  the 
theoretical  classification  of  the  .Diatonic  In- 
tervals.* The  true  series  comprehends  the 
Unison,  Octave,  Fifth,  Fourth,  Thirds,  Sixths, 
Seconds,  and  Sevenths,  in  the  mathematical 
division  of  a  musical  string. 

163.  VIII.  The  Flat  Fifth  is  composed  of 
five  Degrees,  and  contains  two  Tones  and  two 
Semitones  (not  three  Tones :)  it  may  be  di- 
vided into  two  Minor  Thirds. 


|piE5Eg^EgE|E|EgEg| 


It  is  also  (like  the  Sharp  Fourth  or  Tri-tone) 
divisible  into  six  Semitones  ;  and  when  joined 
with  that  Interval,  completes  the  Octave. 

164.  IX.  The  Perfect  Fifth  is  composed  of 
five  Degrees,  and  contains  three  Tones  and  one 
Semitone  :  it  may  be  divided  into  a  Major  and 
a  Minor  Third. 


m 


It  is  also  divisible  into  seven  Semitones  y 
and,  when  joined  with  the  Fourth*  completes 
the  Octave. 


*  Butler,  p.  46.    Malcolm,  p0  74.    Holden,  p.  44,  art.  127. 


CHAP.  L     INTERVALS.  97 

165.  X.  The  Minor  Sixth  is  composed  of 
six  Degrees,  and  contains  three  Tones  and  two 
Semitones :  it  may  be  divided  into  a  Minor 
Third  and  a  Fourth, 


I 


*/- 


&z=s£=?—- 


ivt — ,cl.:: 


~e- 


•**• 


It  is  also  divisible  into  eight  Semitones ; 
and,  when  joined  with  the  Major  Third,  com- 
pletes  the  Octave. 

166.  XL  The  Major  Sixth*  is  composed  of 
six  Degrees,  and  contains  four  Tones  and  one 
Semitone  :  it  may  be  divided  into  a  Major 
Third  and  a  Fourth. 


az::zz==:=:c5: 


•^ -MA 


w/       -v\£— — ~—— 1 — -a^ 


-a-    w  -e- 

It  is  also  divisible  into  nine  Semitones  ;  and, 
when  joined  with  the  Minor  Third,  completes 
the  Octave. 


*   This  Interval  is  that  upon  which  the  ancient  system  of 
the  Hexachord  is  formed. 

K 


98  II.    MELODY. 

167.  XII.  The  Minor  Seventh*  is  com- 
posed of  seven  Degrees,  and  contains  four 
Tones  and  two  Semitones :  it  may  be  divided 
into  a  Fifth  and  a  Minor  Third. 


■W~~*& — 


— ^ a\£ — I — A\£ 


1 


It  is  also  divisible  into  ten  Semitones  ;  and, 
when  joined  with  the  Major  Second,  or  Tone, 
completes  the  Octave. 

168.  XIII.  The  Major  Seventh  is  com- 
posed  of  seven  Degrees,  and  contains  five 
Tones  and  one  Semitone  ;  and  may  be  divided 
into  a  Fifth  and  a  Major  Third. 

It  is  also  divisible  into  eleven  Semitdnes ; 
and,  when  joined  with  the  Minor  Second,  of 
Semitone,  completes  the  Octave, 


*  This  Interval  is  also  composed  of  two  perfect  Fourths; 
an  example  of  which  may  be  found  in  the  subject  of  the  last 
Chorus  in  Handel's  Alexander's  Feast,  Uet  old  Timotheus* 


CHAP.  I.     INTERVALS.  99 

169.  XIV.  The  Octave  is  composed  of 
eight  Degrees,  and  contains  five  Tones  and 
two  Semitones  :  it  may  be  divided  into  a  Fifth 
and  a  Fourth. 


:-■*£  Z"DZ 


— T7-W 


TZZZ^ZZTZj 


p_w-^ —  ^ 

It  is  also  divisible  into  twelve  Semitones, 
and  may  be  considered  as  the  replicate  of  the 
Unison. 

As  the  Octave  consists  of  thirteen  sounds, 
and  therefore  has  only  twelve  Intervals,  it 
must  be  recollected,  that  the  fourteen  JDiato- 
nic  Intervals,  just  described,  are  obtained  by 
reckoning  the  Unison  as  one  of  them,  and  by 
distinguishing  between  the  Sharp  Fourth  and 
Flat  Fifth ;  both  which  are,  upon  Keyed  In- 
struments, performed  with  the  same  Keys. 
The  seven  Notes  of  the  Scale  form  seven  dif- 
ferent species  of  Octave,  according  to  the 
places  of  the  two  Natural  Semitones  ;  and  from 
these  species,  divided  each  into  two  parts,  by 
the  Fifth  or  by  the  Fourth,  arise  the  eight 
Tones  of  Italy,  and  the  twelve  Modes  of  Ger- 
many.* 


See  the  Note,  p.  23,  of  this  Work. 


100  II.    MELODY. 


SECT.  IV— INVERSION  OF  INTERVALS. 

1 70.  When  the  lower  Note  of  any  Interval 
is  placed  an  Octave  higher,  or  the  higher  Note 
an  Octave  lower,  the  change  thereby  produced 
is  called  Inversion. 


Thus  a  Second becomes  a  Seventh  — -— — — 

z~zzzqZ  z&zzzz 

a  Third  "—"  a  Sixth   ■ — 

_  z iZ—  rT..1-~~~Q~' 

a  Fourth a  Fifth 

Z~ZZ§Z  ~°' 

171.  The  different  Intervals  (seven,)  reckoned 
from  each  of  the  seven  Natural  Notes,  form  the 
following  Series  : 

Five  Major  and  two  Minor ,  Seconds. 

Three  Major  and  four  Minor  Thirds. 

Six  Perfect  and  one  Sharp  Fourth. 

To  these  may  be  added  their  Inversions ; 
Two  Major  and  five  Minor  Sevenths. 
Four  Major  and  three  Minor  Sixths. 
Six  Perfect  and  one  Flat  Fifth, 

■ 


CHAP.  I.     INTERVALS.  101 

172.  All  the  Major*  Intervals  become  Mi- 
nor, by  inversion,  and  all  the  Minor  Intervals 
become  Major  ;  the  Sharp  Fourth  becomes  the 
Flat  Fifth,  and  the  Unison  inverted  becomes 
the  Octave. 

173.  The  Major  Seventh  of  the  Key,  from 
its  resemblance  to  the  Tritone  (its  higher  Note 
being  one  of  the  two  Sounds  which  form  the 
Sharp  Fourth,)  is  sometimes  called  the  Sharp 
Seventh. 

174.  Rameauf  terms  the  Intervals  of  the 
Third,  Fifth,  and  Seventh,  fundamental ;  and 
derives  the  others,  viz.  the  Second,  Fourth, 
and  Sixth,  by  inversion,  reckoning  them  down- 
ward, from  the  Octave  of  the  former,  accord- 
ing to  the  following  Scheme  : 


Seventh  | 

j  Second 

Sixth 

D 

Filth  | 
E  E 
|- Fourth1 

A 

Third  | 
B  C 

1 

a 

1 
1 

175.  All  these  Intervals  are  found  in  the  Dia* 
tonic  or  Natural  Scale ;    and,  when  this  Scale  is 

*  The  epithets,  Sharp,  and  Flat,  were  always  used,  instead 
of  Major,  and  Minor,  by  the  old  writers,  Simpson,  Playtbrd, 
and  also  Pepusch.    See  Art.  159,  p.  94. 

t  Principles  of  Composition,  p.  3, 
K  2 


102  II.    MELODY. 

transposed  to  any  other  pitch,  higher  or  lower* 
by  the  use  of  Sharps  or  Flats,  these  Intervals 
remain  the  same,  as  will  be  more  fully  seen 
hereafter.  The  remaining  Intervals,  which 
are  commonly  intermixed  with  these  in  the 
general  tables  given  by  Authors,  and  which 
belong  only  to  the  Chromatic  and  Enharmonic 
Scales,  are  omitted  here,  but  will  be  inserted  in 
the  third  Chapter  of  this  Part,  on  the  Genera* 
(p.  109.) 

176.  Of  all  the  Diatonic  Intervals,  the  two 
Thirds?  Major  and  Minor,  are  by  far  the 
most  important,  and  ought  to  be  very  per- 
fectly understood  \  since  upon  them  depends 
the  Nature  of  the  Scale  or  Mode  y  and  the 
Thirds  give  their  own  epithets  to  the  whole 
series  of  the  seven  Notes,  the  Scale  itself  being 
called  Major,  when  the  Third  is  greater*  and 
Minor,  when  the  Third  is  lesser. 

177.  There  is  another  distinction,  in  respect 
of  Melodies  formed  of  Diatonic  Intervals,  which,, 
although  in  some  measure  obsolete,  is  yet  useful 
for  the  Student  to  understand.  Those  Melodies 
which  have  their  principal  Notes  contained  be- 


*  See  Rameau,  p.  3,  and  Simpson,  p.  35.  It  may  be  ob- 
served, that  the  alteration  of  the  Thirds,  by  sharpening  the 
tipper  Note  of  the  Minor,  or  flattening  that  of  the  Major, 
does  not  change  their  Diatonic  nature. 


CHAP.  I.     INTERVALS.  103 

tween  the  Key-note  and  its  Octave,  are  termed 
authentic,  direct,  or  principal,  as  in  the  fol- 
lowing Example  : 

(Waft  her,  Angels*) 


gBE^5=£=3^^^i 


178.  Those  Melodies,  on  the  contrary,  which 
have  their  principal  Notes  contained  between 
the  Fifth  of  the  Key  and  its  Octave  (or  Twelfth,) 
are  termed  plagal,  oblique,  or  collateral,  as  in 
the  following  Example  : 

(Streams  of  pleasured) 


§ipiSS^Ii=pl 


By  these  two  divisions  of  the  Octave,  au- 
thentic and  plagal,  are  formed  the  arrange- 
ments of  the  eight  Italian  Tones,  and  twelve 
German  modes  before  mentioned. 


*  Jephtha,  1751  (Handel's  Songs,  v.  No.  367,)  Dr.  A.'s  edit. 
No.  120,  p.  170.' 

t  Theodora,    1750  (Handel's  Songs,   iv.  No.  268,)  Dr.  A,'s 
edit:  No,  8,  p.  181. 


104 


CHAP.  IL 

OF  CONSONANT  AND  DISSONANT  INTERVALS. 


Art.  179.  Although  the  terms  Consonant 
and  Dissonant  are  chiefly  used  in  Harmony, 
yet  they  are  applicable,  in  a  great  measure,  to 
the  classing  of  Intervals  in  Melody. 

1 80.  The  Diatonic  Intervals  are  therefore  di- 
vided into  Consonant  and  Dissonant.  Those 
which  are  most  agreeable  to  the  ear,  as,  the  Oc- 
tave, Fifth,  Fourth,  both  the  Thirds,  and  both 
the  Sixths,  are  called  Consonant ;  those  which, 
when  compared  with  the  others,  are  less  agree- 
able to  the  ear,  as  both  the  Seconds,  both  the 
Sevenths,  with  the  Sharp  Fourth,  are  called 
Dissonant. 

The  term  Dissonant  is  thought,  by  some 
Authors,*  inapplicable  to  the  Degrees  of  Me* 
lody  which  seem  more  natural  to  the  human 
voice  than  the  Skips.  This,  however,  is  a  pre- 
judice, which  a  further  consideration  of  Har- 
mony will  remove. 

181.  The  foregoing  arrangement  shews  the 
propriety  of  distinguishing  the  species  of  Sec- 


*  Principes    Elementaires  de  Musique,  du  Conservatoire, 
p.  16. 


CHAP.  II.  CONSONANT  INTERVALS,  &c.  105 

onds,  Thirds,  Sixths,  and  Sevenths,  by  the 
epithets  Major  and  Minor,  according  to  the 
number  of  Semitones  included  between  the  ex- 
tremes ;  while  the  appellation  of  Perfecl  is 
reserved  for  the  Fourth  and  Fifth,  with  the 
terms  Sharp  and  Flat,  when  altered  a  Semi- 
tone higher  or  lower. 

1 82.  The  Thirds  and  Sixths,  whether  Major 
or  Minor,  are  always  consonant ;  the  Seconds 
and  Sevenths  always  dissonant ;  but  the  Fourth 
and  Fifth  are  consonant  only  when  perfect  j 
when  sharp  or  flat,  they  are  dissonant*  The 
alteration  of  these  two  last  Intervals,  therefore, 
places  them  in  different  classes  \  and,  although 
the  terms  Major  and  Minor  have  sometimes 
been  applied  to  the  Fourth  and  Fifth,  in  the 
present  Work  those  terms  will  not  be  used. 

183.  The  Consonant  Intervals  are  subdi- 
vided into  perfect  and  imperfect.  The  Unison 
(or  Prime,)  the  Octave,  Fifth,  and  Fourth,  are 
called  perfect,  because  they  are  immutable, 
never  changing  from  Major  to  Minor  (or  the 
contrary,)  but  becoming  dissonant  whenever 
altered  by  a  Sharp,  Flat,  or  Natural. 

184.  The  Thirds  and  Sixths  are  called  im- 
perfect, because  they  are  liable  to  change  from 
Major  to  Minor  (or  the  contrary,)  still  remain- 
ing consonant. 


106 


II.    MELODY. 


185.  The  Seconds,  Sevenths,  Sharp  Fourth, 
Flat  Fifth,  with  all  the  Chromatic  and  En- 
harmonic Intervals,  are  dissonant. 

186.  According  to  this  classification,  every 
passage  of  Melody  which  moves  by  Degrees, 
consists  of  dissonant  Intervals ;  but,  as  every 
other  Note  is,  in  general,  a  transient  sound, 
placed  between  two  consonant  Notes,  these  Sec- 
onds have  not  that  harshness  which  is  found  in 
the  passages  which  move  by  Skips,  as  the 
Sharp  Fourth,  Flat  Fifth,  Minor  and  Major 
Sevenths,  &c. 

187.  All  dissonant  Seconds  in  Melody,  are 
either  passing  or  changing  Notes  j*  and  these 
are  either  regular,  when  found  on  the  weak 
parts  of  the  Measure,  or  irregular,  when  used 
on  the  strong  parts.  If,  therefore,  these  orna- 
mental Notes  are  taken  away,  a  series  of  con- 
sonant Intervals  will  remain. 


*  Art.  106,.  p.  63, 

t   Israel  in  Egypt  (Handel's  Songs,  iii.  No;  250,)  Dr.  A.'s 
edit.  No,  97,  p.  214. 


CHAP.  n.  CONSONANT  INTERVALS,  &c.  107 

The  foregoing  Melody  may  be  reduced  to 
Consonant  Intervals,  by  taking  away  the  alter- 
nate Semiquavers,  where  regular,  and  omitting 
two  when  irregular  ;  it  will  then  appear  thus  : 


188.  The  concordant  series  of  Thirds  and 
Sixths,  from  the  varied  succession  of  Major 
and  Minor  Intervals,  is  extremely  pleasing  to 
the  ear  5*  and  most  passages  of  Degrees  {like 
that  of  the  preceding  Example,)  are  reducible 
into  Thirds,  intermixed  with  Fourths,  by  tak- 
ing away  the  passing  and  changing  Notes, 

■» 

1 89.  A  great  part  of  every  Duet  is  composed 

of  Thirds  or  Sixths  ;  and  these  Intervals,  with 
the  occasional  introduction  of  Fourths  and 
Fifths,  allow  a  double  Melody  to  continue 
throughout  a  Movement. 

190.  A  successive  series  of  perfect  Fifths  is 
not  to  be  found  in  Melody,  and  hence  is  forbid- 
den in  Harmony.  In  Melody,  they  would  ex- 
ceed the  limits  of  our  regular  Scale,  as  well  as 
the  compass  of  the  voice  ;  and,  in  Harmony,  they 
would  produce  new  and  unconnected  Scales,  of 
which  the  species,  Major  or  Minor,  would  be 

•     »•*  ■  - 

*  Shield,  p.  65. 


108 


n.    MELODY. 


undetermined,  through   the  omission   of  the 
Thirds  and  Sixths. 

191.  A  more  correct  idea  of  passing  Notes 
may  be  obtained,  by  considering  the  Scale  as 
divided  into  three  parts,  the  two  first  concor- 
dant, and  the  last  discordant ;  thus, 


n. 


m. 


^pipiiiili 


In  the  first  part,  or  the  Tonic  Division,  the 
passing  Notes  are,  the  2d,  4th,  6th,  and  7th  of 
the  Scale  >  thus, 


k:ff\::&tl  fp 


In  the  second  part,  or  the  Subdominant  Di- 
vision, the  passing  Notes  are,  the  2d,  3d,  5th, 
and  7th  ;  thus, 


In  the  third  part,  or  the  Dominant  Divi- 
sion, the  3d  and  6th  are  the  only  passing  Notes  \ 
thus, 

-£=?■—- — g— —  <0—  —  —     — — — .—  — — — 


109 
CHAP.  HI. 

OF  THE  GENERA. 
SECT.  I.— OF  THE  THREE  KINDS  OF  MELODY. 

Art.  192.  That  Scale  of  Music  which  pro- 
ceeds  chiefly  by  Tones  called  Diatonic,  has 
been  explained  (Art.  152,  p.  88,)  and  consti- 
tutes the  principal  part  of  every  piece  of  Music. 

193.  When  all  the  artificial  Sounds  are  in- 
serted between  the  natural  Sounds,  a  Scale  is 
formed  of  Semitones  aione,  and  called  Chro- 
matic. 

194.  When  a  Scale  yet  smaller  in  its  Inter- 
vals is  formed,  which  contains  in  some  places 
Quarter-tones j  it  is  called  Enharmonic. 

195.  These  three  Scales,  the  Diatonic,  the 
Chromatic,  and  the  Enharmonic,  form  the 
three  Genera  or  kinds  of  Melody  now  in  use ; 
and,  although  the  terms  are  borrowed  from  the 
Greek  authors,  yet  the  modern  ideas  annexed 
to  them  are  considerably  different  from  their 
ancient  signification. 

196.  The  origin  of  the  term  Diatonic  Genus 
has  been  explained.  The  Chromatic  takes  its 
name  from  the  Greek  word  Chroma,  colour,  be- 
cause the  interspersed  Semitones  give  an  orna- 


110  IX    MELODY. 

mental  effect  to  the  Diatonic  or  simple  Melody  ; 
and  the  Enharmonic  was  so  called,  from  its 
supposed  excellence,  being  En-harmonic,  that 
is,  extremely  musical. 

197.  The  two  last  Genera  (Chromatic  and 
Enharmonic)  are  never  used  alone,  but  always 
intermixed  with  the  Diatonic.  Hence  it  has 
been  asserted,  that  all  the  Genera,  except  the 
Diatonic,  are  irretrievably  lost.*  That  they  are 
lost  to  us,  in  the  precise  sense  of  the  ancient 
descriptions,  is  undoubtedly  true  \  but  we  still 
retain  the  term  Chromatic,  in  a  signification 
extremely  analogous  to  its  primitive  meaning, 
and  it  seems  proper  also  to  retain  the  terms 
Diatonic  and  Enharmonic. 

198.  The  French  Theorists!  mention  two 
other  compound  Genera,  the  Diatonic-enhar- 
monic, and  the  Chromatic-enharmonic ;  the  first 
containing  a  succession  of  two  Diatonic  Semi- 
tones, and  the  last  a  succession  of  two  Chro- 
matic Semitones,  These  terms  and  classifica- 
tions are  more  curious  than  useful,  since,  ac- 
cording to  Dr.  Pepusch,  the  Diatonic-enhar- 
monic is  the  same  as  the  Toniceum  Chromatic 

*  Sir  J.  H,  t  110,  128;   iil  89,  153.    Dr.  B.  i.  461;    iii.  292. 

t  M.  D'Alembert,  Elemens  de  Musique,  1762,  Part.  I. 
Chap.  xx.  xxi.  p.  112,  M.  Bethizy,  Exposition,  &c.  If64, 
p.  180. 


CHAP.  HI.     GENERA.  1 1 1 


of  the  ancients  ;  and  the  two  subsequent  Minor 
Semitones  are  found  in  the  soft  Chromatic  of 
the  Grecian  system.* 


SECT.  II.— OF   THE   CHROMATIC    SCALE   AND    ITS 
INTERVALS. 

199.  The  Chromatic  Scale  generally  ascends 
by  Sharps,  and  descends  by  Flats,  as  in  the 
following  Example : 


illligl 


200,  From  this  Scale  several  Intervals,  not 
yet  described,  arise,  which  are  all  discordant, 
and  are  chiefly  used  in  Melody,  although  they 
appear  sometimes,  by  license,  in  harmonical 
combinations. 

201.  The  Chromatic  Scale  consists  of  thir- 
teen Sounds,  which  contain  twelve  Intervals 
between  them.  Seven  of  these  have  been  al- 
ready  described,   among   the   Diatonic  Inter* 


*  See  Dr.  Pepusch's  Letter  to  De  Moivre,  in  the  Philosoph- 
ical Transactions,  1746,  No.  481. 


112 


IT.    MELODY. 


vals  ;*  the  remaining  five  form  another  species 
of  Intervals,  called  Extreme  or  Chromatic. 
Of  these,  the  Chromatic  Semitone,  the  extreme 
sharp  Second,  flat  Third,  and  flat  Fourth,  are 
simple  or  primitive  ;  the  extreme  sharp  Fifth, 
sharp  Sixth,  flat  Seventh,  and  flat  Eighth,  are 
compound  or  derivative. 


Chromatic  Semitone. 

:z:5E:iEEE 

Extreme  Sharp  Second. 


Extreme  Sharp  Fifth. 


Extreme  Flat  Third. 
Extreme  Flat  Fourth. 


Extreme  Sharp  Sixth. 

—— — i&e— 

Extreme  Flat  Seventh. 


±3= 


Extreme  Flat  Eighth. 


202.  I.  The  Chromatic  Semitone  is  the  dis- 
tance or  interval  between  any  Note,  and  that 
same  Note  elevated  by  a  Sharp,  or  depressed 
by  a  Flat. 


*  Padre  Martini  (Saggio  di  Contrappunto,  1774,  p.  '17.) 
has  enumerated  another  Interval,  the  extreme  sharp  Third, 
with  its  inversion :  this  will  be  noticed  hereafter. 


CHAP.  III.     GENERA. 


US 


Example  of  the  Chromatic  Semitone  ascending  : 
(Sweet  bird,  that  shunn'st.*) 


Example  of  the  Chromatic  Semitone  descend- 
ing : 

(Turn  not,  0  QueenX) 


^ggE^^^ffi|=^^^EffibE 


203.  This  Semitone  was  termed  by  the  Py- 
thagoreans Apotome,\  anc*  the  Diatonic  Semi- 
tone was  termed  Limma.  They  contended, 
that  the  Apotome,  or  distance  from  B  flat  to  B 
natural,  was  larger  than  the  Limma,  or  dis- 
tance from  A  to  B  flat.  It  is  now,  however, 
demonstrated,  by  the  experiments  of  Mersenne, 
&c.  &c.  that  the  theory  of  Zarlino  and  Salinas 

*  L'Allegro,  1739,  Dr.  A.'s  edit.  No.   150,  p.  39,  H.  S.  i. 
No.  58. 

f  Esther,  1732,  Dr.  A.'s  edit.    No.   133,   p.   115,   H.    S.  v. 
No.  360.      » 

$  Sir  J.  H.  i.  73.  The  term  Apotome  was  also  used  by  Sa- 
lomon de  Caus  (Institution  Harmonique,  1614,)  and  thence  inr 
serted  by  D'Aiemberfc  and  Rousseau  in  the  French  Encyclo- 
paedic He  terms  the  present  Enharmonic  Diesis  Apotome  Ma- 
jor, and  the  present  Minor  Comma  dfiotome  Minor  (page  5  ) 
L  2 


114  IL    MELODY. 

is  true  ;  namely,  that  the  Interval  from  A  to 
B  flat,  is  the  Major  Semitone,  and  that  from 
B  flat  to  B  natural,  is  the  Minor  Semitone* 
contrary  to  the  Nomenclature  of  Boethius  and 
the  Pythagoreans. 

204.  In  the  Chromatic  Scale,  the  Semitones 
are  alternately  Chromatic  and  Diatonic  ;  and* 
as  there  are  only  five  of  the  former,  while  there 
are  seven  of  the  latter,  two  Diatonic  Semitones 
will  be  found  in  succession,  at  the  place  where 
the  natural  Semitone  occurs. 

Ascending.  Descending. 


«— —»mm»  mi  111—  !■—«»— mm  mm  — {*W  mtwiuM'iiy  ■" w»a  — m— nw        ■    ctJ^wwwh— ifl 


205.  From  this  important  Interval  (the 
Chromatic  Semitone)  arise  all  the  other  Chro- 
matic Intervals  :  they  are  all  Diatonic  Dis- 
tances, increased  or  diminished  by  this  Inter- 
val ;  and  hence  they  all  take  the  additional 
Chromatic  Epithet  of  Extreme. 

206.  II.  The  extreme  sharp  Second  con- 
sists of  a  Tone  and  a  Chromatic  Semitone,  be- 
ing composed  of  two  Degrees.  Upon  Keyed 
Instruments,  this  is  the  same  as  the  Minor 
Third;  which,  however*  consists  of  a  Tone 
and  a  Diatonic  Semitone,  and  therefore  con- 
tains three  Degrees, 


CHAP.  III.     GENERA. 


(To  vanity  and  earthly  pride.*) 


115 


^Ppppiji^ 


207.  III.  The  extreme  flat  Third  consists 
of  two  Diatonic  Semitones,  being  composed  of 
three  Degrees  ;  and  is  the  Minor  Third,  dimin- 
ished by  the  Chromatic  Semitone.  Upon 
Keyed  Instruments,  this  is  the  same  as  the 
Tone  which  contains  only  two  Degrees. 

This  Interval  being  very  harsh  for  Vocal 
Music,  the  intermediate  Sound  is  generally  in- 
serted, as  in  the  following  Example  t 

{Prophetic  raptures. i) 


^i^ifiSl 


In  this  passage  the  A,  between  B  flat  and  6 
sharp,  is  only  a  transient  or  passing  Note. 

208.  IV.  The  extreme  flat  Fourth  consists 
of  a  Tone  and  two  Diatonic  Semitones,  being 
composed  of  four  Degrees  \  and  is  the  perfect 
Fourth,  diminished  by  the  Chromatic  SenuV 
tone.     Upon  Keyed  Instruments,  this  is  the 


*  Joshua,  1747,  Dr.  A.'s  edit.  No.  58,  p.  86,  H.  S.  i.  No.  25. 
t  Joseph,  1746,  Dr,  A/s  edit  No.  110,  p.  161,  H.  S.  i.  No,  5$, 


116  H.    MELODY. 

same  as  the  Major  Third,  which  contains  only 
three  Degrees. 

(0  mirror  of  our  fickle  state.*) 


-a— ^ 


The  E  natural  here,  is  taken  instead  of  E  flat, 

209.  These  three  last  Intervals,  viz. 
The  extreme  sharp  Second, 
The  extreme  flat  Third,  and 
The  extreme  flat  Fourth, 

When  inverted,  become  the  following  i 
The  extreme  flat  Seventh^ 
The  extreme  sharp  Sixth, 
The  extreme  sharp  Fifth. 

210.  V.  The  extreme  sharp  Fifth  is  the  per- 
fect Fifth,  increased  by  the  Chromatic  Semi- 
tone, and  consists  of  four  Tones,!  forming  five 
Degrees.  On  Keyed  Instruments  it  is  the  same 
as  the  Minor  Sixth,  which  consists  of  six  De- 
grees. This  Interval  is  seldom  found  in  Mel- 
ody -,  but  its-  inversion,  the  extreme  flat  Fourth,, 
is  generally  taken  in  its  place. 


•    *  Samson,   1742,  Dr.  A.'s   edit.  No.    50,   p.   2%   H.  S.  iv. 
No.  289. 


t  Galled  also  Tetratoncn, 


CHAP.  HI.     GENERA.  11*7 

It  is  also  divisible  into  two  Major  Thirds. 

iliH^HIHiiii 

211.  VI.  The  extreme  sharp  Sixth  is  the 
Major  Sixth,  increased  by  the  Chromatic  Semi- 
tone, and  consists  of  five  Tones,*  forming  six 
Degrees.  On  Keyed  Instruments  it  is  the  Mi- 
nor Seventh,  which  consists  of  seven  Degrees. 

It  is  also  divisible  into  a  Major  Third  and 
sharp  Fourth.f 


;^qZI— — z_z*©z IZ— znsi 


112.  VII.  The  extreme  flat  Seventh  is  the 
Minor  Seventh,  diminished  by  the  Chromatic 
Semitone,  and  consists  of  four  Tones  and  twa 
Diatonic  Semitones,  forming  seven  Degrees. 
On  Keyed  Instruments  it  is  the  Major  Sixths 
which  only  consists  of  six  Degrees. 

It  is  also  divisible  into  three  Minor  Thirds. 

Pziazz^f— zzzzzzzz zizz z:zzzz±iszzzzi 


*  Called  also  Fentatonom, 
f  Shield,  p.  77. 


118 


II.    MELODY. 


Examples  of  this  Interval  in  Melody  are  not 
uncommon. 

(They  loathed  to  drink.*) 


i^nmiiiiH! 


(dnd  with  his  strifes.^) 


m 


m 


b& 


azzfc 


— I -l.^ 


213.  VIII.  The  extreme  fat  Eighth  is  the 
Octave,  diminished  by  the  Chromatic  Semi- 
tone :  it  is  never  used  in  Melody,  but  is  some- 
times found  in  transient  passages  of  Harmony. 


te- 


§=SEE 


m 


&o- 


bo. 


■e- 


*  Israel  in  Egypt,  1738,  I>r.  A/s  edit  No.  93,  p.  20. 
t  Messiah,  1741,  Dr.  A.'s  edit.  No.  10,  p.  94. 


CHAP.  III.     GENERA.  1 1 9 

SECT,  in.— OF  THE  ENHARMONIC  SCALE  AND  ITS 
INTERVAL,  THE  QUARTER-TONE. 

214.  When  a  series  is  formed  by  uniting  the 
ascending  with  the  descending  Scale  of  the 
Chromatic  Genus,  a  new  kind  of  Music  arises, 
by  the  use  of  the  Interval  formed  between  the 
sharpened  Note  and  the  Flat  of  the  next  suc- 
ceeding Note  above.  This  Scale  is  called  En- 
harmonic, and  contains  Intervals  smaller  than 
the  Semitone ;  which,  although  not  exactly 
half  the  Semitone,  are,  however,  from  their 
near  approach  to  that  quantity,  called  the 
Diesis**  (that  is,  the  Division,)  or  Quarter- 
tone. 

215.  To  form  this  Interval,  it  is  necessary 
that,  of  any  two  Notes  which  are  distant  by 
the  Tone,  the  highest  should  be  depressed,  and 
the  lowest  elevated,  by  the  Chromatic  Semi- 
tone. Thus,  from  G  to  A  is  a  Tone.  Now, 
if  G  sharp  be  taken  instead  of  G,  and  A  flat 
instead  of  A,  the  difference  between  these  ex- 
tremes of  the  two  Chromatic  Semitones,  G 
sharp  and  A  flat,  will  form  the  Enharmonic 
Diesis,  or  Quarter-tone. 

216.  To  understand  this,  it  must  be  observ- 


*  This  was  also  called  Afiotome  Major  by  Salomon  de  Caus. 
See  before,  Art.  203,  p.  113,  of  this  Work.  Sir  J.  H.  i.  110 ; 
ai.  142, 155.    Dr.  B.  i.  29 ;  iii.  530. 


120  n.    MELODY. 

«d,  that  the  Interval  of  a  Tone,  in  the  theory  of 
Harmonics,  is  not  always  the  same.  That  Tone 
which  is  between  the  Fourth  and  Fifth  of  the 
Scale,*  is  supposed  to  be  divided  into  nine 
small  parts,  termed  Commas  ;  while  that  which 
is  between  the  Fifth  and  Sixth  of  the  Major 
Scale,  is  divided  only  into  eight  Commas.  The 
Diatonic  Semitone  consists  of  five  Commas, 
and  the  Chromatic  Semitone  of  three,  or  four9 
according  to  the  magnitude  of  the  Tone. 

217.  The  two  Chromatic  Semitones,  there- 
fore, being  taken  from  the  Minor  Tone  (of 
eight  Commas,)  leave  a  residue  of  two  Commas 
for  the  Diesis  or  Quarter-tone  :  hence  on  the 
Temple  Organ,!  and  on  some  other  Instru- 
ments, the  Tones  from  G  to  A,  and  from  D  to 
E  (which  are  naturally  Minor,  or  of  eight  Com- 
mas,) are  divided  into  three  parts,  by  two  dis- 
tinct Keys,  one  for  G  sharp,  another  for  A  flat  5 
also  one  for  D  sharp,  and  another  for  E  flat. 
But  upon  Keyed  Instruments,  in  general,  the 
Temperament,  or  method  of  tuning,  is  such, 
that  the  single  short  key  between  the  two  long- 
er keys  serves  for  both  purposes,  that  between 
<3r  and  A  being  tuned  higher  than  G  sharp,  and 
lower  than  A  flat. 

*  The  Dtazeuctic  Tone  of  the  ancient  system. 
t  Sir  J.  H.  hi  144;  i  v.  354.    Dr,  B.  in.  439. 


CHAP.  III.     GENERA. 


121 


218.  The  Enharmonic  Scale  divides  each 
Tone  into  two  Chromatic  Semitones  and  the 
Quarter-tone ;  thus, 


^^g=^gg? 


m 


219.  In  some  examples  of  the  Enharmonic 
Scale,*  the  Intervals,  F  flat  and  E  sharp,  as 
also  C  flat  and  B  sharp,  are  inserted  ;  but  they 
do  not  belong  to  that  Scale.  This  distance, 
as  Dr.  Pepusch  observes,  is  smaller  than  the 
Quarter-tone. 


=g=£E=P^P¥ 


This  arises  from  the  division  of  the  Diatonic 
Semitone  into  two  Quarter-tones,  and  a  smaller 
Interval,  termed  the  Hyperoche^  which  is  found 
by  theoretical  calculation  to  be  nearly  a  Comma 
and  a  half. 


*  Shield,  p.  3JT. 

f  This  term  Was  first  adopted  by  M.  Henfling  in  the  Ber- 
lin Miscellanies,  1708.    For  a  more  particular  account  of  the 
i  small  Intervals  in  Music,  see  the  articles  JLschaton,  Hyper  oche, 
and  Interval,  which  first  appeared  in  the  Supplement  to  Cham- 
•  bers'  Cyclopedia,  1753,    probably  written  by    George    Lewis 
'Scott,  Esq.  the  editor,  and  which  were  inserted   afterwards 
in  the  edition  published  by  Dr.  Rees,  in  four  folio  volumes,. 
1788,  1789. 

M 


122 


II.    MELODY. 


220.  Such  are  the  three  modern  Genera,  the 
Diatonic,  Chromatic,  and  Enharmonic :  they 
are  (as  before  observed,  Art.  195)  derived 
from  the  ancient  Grecian  Scales,  but  are  used 
in  a  manner  extremely  different. 

Dr.  Pepusch,*  in  defining  the  six  Genera  of 
Aristoxenus,  namely,  two  Diatonics,  three 
Chromatics,  and  one  Enharmonic,  observes, 
that  the  Syntone  or  intense  Diatonic,  is  in  gene- 
ral use ;  that  enharmonic  passages  are  some- 
times found ;  and  that  two  of  the  Chromatics 
might  be  brought  into  practice  \    for  instance, 

The  Sesquialter  Chromatic  ;  thus, 


And  the  Toniceum  Chromatic  ;  thus^ 


Vm    frQ 


JS31WIJ 


p 


But,  he  adds,  that  the  soft  Diatonic,  and 
the  soft  Chromatic,  are  not  to  be  found  in  any 
modern  production. 


*  Sir  J.  H.  i.  109.  Dr.  B.  to.  638.  In  the  Dictionary  of 
Chambers  (just  quoted,)  at  the  article  Genera,  an  able  analysis 
of  Dr.  Pepusch's  ideas  is  given,  probably  written  by  the  same 
Author,  as  it  also  first  appeared  » the  Supplement. 


123 


CHAP.  IV. 

OF   KEYS    OR    SCALES,    AND    OF    THEIR    TWO 
MODES,  MAJOR   AND  MINOR. 


SECT.  L— OF  KEYS  OR  SCALES. 

Art.  221.  A  Diatonic  Scale,  of  which  the 
Notes  bear  certain  relations  to  one  principal 
Note  from  which  they  are  all,  in  some  respects, 
derived,  and  upon  which  they  all  depend,  is 
termed  a  Key ;  and  the  principal  Note  is 
called  the  Key  Note,  or  Tonic. 

222.  Every  Scale  in  which  the  two  Diatonic 
Semitones  are  found  between  the  third  and 
fourth  Degrees,  and  between  the  seventh  and 
eighth  Degrees,  ascending  from  the  Tonic,  is 
termed  the  Major  Mode  of  that  Key  ;  because 
the  Interval  between  the  Tonic  and  its  Third 
(or  Mediant,)  consists  of  two  Tones ;  that  is, 
of  the  greater  Third.  The  only  series  of  this 
mode  among  the  natural  Notes,  is  that  which 
commences  with  C  ;  and  hence  this  Key  must 
be  taken  as  an  example  of  all  the  Major  Scales. 


HiHigiiiliii 


124 


II.    MELODY. 


223.  Every  Scale  in  which  the  two  Diatonic 
Semitones  are  found  between  the  second  and 
third  Degrees,  and  between  the  fifth  and  sixth 
Degrees,  as  ascending  from  the  Tonic,  is 
termed  the  Minor  Mode  of  that  Key  ;  because 
the  Interval  between  the  Tonic  and  its  Third 
(or  Mediant,)  consists  only  of  one  Tone  and 
one  Semitone,  that  is,  of  the  lesser  Third.  The 
only  series  of  this  mode  among  the  natural 
Notes,  is  that  which  commences  with  A  ;  and 
hence  this  Key  may  be  taken  as  an  example  of 
all  the  Minor  Scales.* 


SECT.  XL— OF  THE  MAJOR  SCALES  WITH  SHARPS. 

224.    In  the  First  Part  of  this  Work  (Art. 
89,  p.  50,)  it  has  been  shewn  how  the  intro- 


*  The  necessary  variation  of  the  ascending  Scale,  in  the 
Minor  Mode,  from  the  descending  Scale,  will  be  explained 
hereafter.  Malcolm,  p.  265.  Pepusch,  p.  20.  Holden  (Part.  I. 
Chap.  ix.  p.  i.)  art.  257,  p.  90.  Sir  J.  Ii.  i.  163,  has  entered 
minutely  into  the  subject  of  our  two  modern  Scales,  with 
their  Transpositions ;  and  their  extensions  to  three  Flats  and 
four  Sharps,  are  noticed  also  by  him,  iii.  144. 


CHAP.  IV.     KEYS. 


I2S 


duction  of  Sharps  changes  the  pitch  of  the 
Tone,  without  altering  the  relative  Intervals  of 
the  Scale.  All  the  other  Major  Keys  with 
Sharps  are  constructed  in  the  same  manner, 
viz.  by  sharpening  the  Fourth  of  the  former 
Key,  to  make  a  new  sharp  Seventh,  or  leading 
Note,  to  the  following  Scale  -,  thus, 


G,  one  Sharp. 


Dy  two  Sharps. 


iiiiiifiilii 


A,  three  Sharps. 


E,  Jour  Sharps. 


iiSilliii! 


B,  Jive  Sharps. 


F  sharp,  six  Sharps. 


fffffffefppl 


225.  In  this  last  Scale,  the  sixth  Sharp  E 
is,  on  Keyed  Instruments,  performed  by  means 
of  F  natural ;  but  it  cannot  be  called  by  that 
name,  nor  situated  on  the  same  Degree  ;  for, 
in  that  ease,  only  six  letters  would  be  used  in- 
stead of  seven  ;  and,  between  D  sharp  and  F 
natural,  the  Chromatic  Interval  of  the  extreme 
flat  Third  would  be  found,  which  does  no£ 
belong  to  the  Diatonic  Series. 

M  2 


126 


II.    MELODY. 


SECT,  in.— OF  THE  MAJOR  SCALES  WITH  FLATS. 

226.  It  has  been  also  shewn  (Art.  93,  p.  52,) 
that  the  introduction  of  a  new  flat  takes  place 
on  the  Seventh  of  the  original  Key,  which  then 
becomes  the  Subdominant  or  Fourth  of  the 
next  Scale :  hence  are  formed  all  the  following 
Scales  with  Flats  : 


F,  one  Flat. 


B  flat,  two  Flats. 


PMtHi^!il 


E  flat,  three  Flats. 


A  flat,  four  Flats. 


dm 


fcc&K 


ft 


SBSlEE-ffisS 


¥3=* 


D  flat,  five  Flats. 


G  flat,  six  Flats. 

XmtM 


ggas^iiigggiti 


227.  In  this  last  Scale,  the  sixth  Flat  C  is3„ 
on  Keyed  Instruments,  performed  by  means  of 
B  natural ;  but  it  cannot  be  called  by  that 
name,  since,  between  B  natural  and  the  next 
Degree  in  the  Scale  (which  is  D  flat,)  the  Chro- 
matic Interval  of  the  extreme  flat  Third  would 
be  found,  which  does  not  belong  to  the  Dia* 
tonic  Series. 


CHAP.  IV.     KEYS.  127 

SECT.  IV.—OF  THE  SIGNATURE. 

228.  When  the  whole  number  of  Sharps  and 
Flats  are  placed  at  the  Glef,  instead  of  being 
occasionally  inserted  before  each  Note  as  they 
occur,  such  collection  of  Sharps,  or  of  Flats^ 
is  termed  the  Signature,  (Art.  96,  p.  65.) 

Signatures  of  Scales  with  Sharps.. 
_^_a* — __$» — =-3£^ — 


pppg 


Signatures  of  Scales  with  Flatsi 


hzq^;tzqa:±i-^:fe 


'  V  1J        '    \.V  V.  ml  V  17  U 


229i  Two  examples  of  the  Signature  ex- 
tended to  the  first  double  Sharp  and  to  the 
first  double  Flat,  may  be  seen,  Art.  98,  99,  p. 
58,  59* 

230.  The  Scale  of  F  sharp  with  six  Sharps, 
being  the  same  on  Keyed  Instruments  as  that 
of  G  flat  with  six  Flats,  all  the  Signatures  be- 
yond six  may  be  expressed  by  a  smaller  num- 
ber, by  changing  the  name  of  the  Tonic. 

Thus  C  sharp  with  seven  Sharps,  is  the  same 
as  D  flat  with  five  Flats  ;  and  C  flat  with  seven 
Flats,  is  the  same  as  B  with  five  Sharps,  &c. 
&c.  &c. 


228  II    MELODY. 

SECT.  V.— OF  THE  MINOR  SCALE  OR  MODE. 

231.  The  Minor  Scale  not  only  differs  from 
the  Major,  as  before  observed  (Art.  223,  p. 
124,)  in  the  place  of  its  Semitones,  but  also 
in  the  variation  of  its  Scale,  of  which  the 
ascending  series  differs  from  the  descending 
one. 

232.  The  Minor  Mode  requires,  that  when- 
ever the  Seventh  of  the  Scale  (which  is  natu- 
rally a  tone  below  it)  ascends  to  the  Eighth, 
it  should  become  sharp,  as  the  proper  leading 
Note  or  sharp  Seventh  to  the  Tonic.  Now, 
the  insertion  of  this  essential  Note  in  the  Sig- 
nature, would  appear  irregular,  as  in  the  fol- 
lowing Examples  :# 


— p-b*-" o"b 


iE5E|EgE|iEglEgkEEg*>g 


It  is  therefore  always  omitted  in  the  Signature, 
and  placed  accidentally  before  the  Seventh 
which  it  is  to  elevate,  whenever  the  Melody 
requires  its  use. 


*  If  this  irregularity  were  adopted  in  the  three  first  Exam- 
ples, the  essential  leading  Note  -would  appear  as  if  it  were  in- 
serted by  mistake  one  Degree  too  high. 


CHAP.  IV.     KEYS.  129 

233.  That  this  leading  Note  or  sharp  Sev- 
enth is  essential  to  the  Key,  although  not  to 
its  Signature,  may  be  proved  by  performing 
the  subsequent  Melody,  omitting  the  sharp  F» 


(Our fears  are  now*) 


iEBEEEE 


m® 


In  which  instance,  the  harshness  produced  by 
F  natural,  if  taken  instead  of  F  sharp,  is  ex- 
itremely  perceptible* 

234.  As  the  Signature,  therefore,  does  not 
decide  the  Key  or  Scale  of  the  Movement,  a 
careful  observation  must  be  made,  whether  any 
accidental  Sharps  or  Naturals  occur  in  the  first 
Phrase  or  Section.  If  any  such  are  found,  the 
Tonic  is  on  the  next  Degree  above  them  ;  but, 
if  none  are  used,  then  the  Signature  itself  deter- 
mines the  Major  Tonic,  which  is  always  the 
Note  above  the  last  Sharp,  or  the  fourth  Note 
below  the  last  Flat. 

235.  The  accidental  Sharp  used  in  the  Mi- 
nor Mode,   raises   the   Minor  Seventh  of  the 


*  Deborah,  1738,  Dr.  A.'s  edit.   No.  145,  p.  219,  H.  S.  ii. 
STo.  133. 


130 


II.    MELODY. 


Scale  a  Chromatic  Semitone :  hence  the  Minor 
Scale  may  be  said  to  belong  to  the  Chromatic 
Genus ;  and  its  true  essential  Scale  is  thus 
formed  : 


iiiiiiiii! 


236.  In  this  series  is  found  the  harsh  Chro- 
matic Interval  of  the  extreme  sharp  Second 
(between  F  natural  and  G  sharp;)  to  avoid 
which*  the  Sixth  is  made  sharp,  to  accommo- 
date the  Seventh  :  thus  the  accidental  Scale  of 
the  Minor  is  formed  with  two  Notes  altered 
from  the  Signature. 


1=beB™ 


237.  But,  in  the  descending  Scale*  the  essen- 
tial leading  Note  is  depressed,  to  accommodate 
the  Sixth  :  thus  the  natural  Scale  of  the  Sig- 
nature remains  unaltered. 

iiiilliiii 


CHAP.  IV.  KEYS. 


13.1 


SECT.  VI— OF  THE  RELATIVE  MINOR  SCALES. 

238.  The  Minor  Scale  whose  Tonic  is  found 

)  on   the  sixth  Note  ascending   of  that  Major 

Scale  which  has  the  same  Signature,  is  termed 

the  Relative  Minor ,   because   its   Signature   is 

similar  to  that  of  the  other. 


Major, 


G,  one  Sharp. 


D,  two  Sharps. 


mmmmm 


Relative  Minor* 

JB,  one  Sharp.  B,  two  Sharps. 


These  Tonics,  it  may  be  observed,  are  one 
Degree  below  the  last  Sharp  of  the  Signature. 

239.  In  the  Signatures  with  Flats,  the  Rel- 
j  ative  Minor  (or  Sixth  of  the  Key)  is  always  on 
J  the  third  Degree  above  the  last  Flat ;    thus, 

j  Major. 

F,  one  Flat.  B,  two  Flats. 


^iiHipliiii 


Relative  Minor. 

. '  «       Fiat.  G,  two  Flats. 


gpB 


132 


IL    MELODY. 


SECT.  ML— OF  THE  TONIC  MINOR  SCALES. 

240.  Every  Major  Scale,  when  its  Third  and 
Sixth  are  depressed  by  the  Chromatic  Semi- 
tone, becomes  a  Minor  Scale  on  the  same 
Key  Note,  and  will  be  called,  in  this  Work, 

the  Tonic  Minor. 

241.  But,  as  the  Signature  requires  that  the 
essential  sharp  Seventh  should  not  be  inserted 
at  the  Clef,  the  Tonic  Minor  must  have  in  its 
Signature  another  Flat,  making  in  all  three 
Flats  more,  or  three  Sharps  less,  than  the 
Major  Scale  of  the  same  Key  Note  j  thus, 


F  Major. 


bfrrrrjJJFrrrMa 


F  Minor. 


C  Major. 


C  Minor. 


In  the  last  Example,  the  F  *,  E  iq,  and 
B  fcj,  are  all  to  be  considered  as  Sharps,  when 
contrasted  with  the  F  fc?,  E  b>  and  B  b,  of  the 
Minor  Scale. 


CHAP.  IV.     KEYS. 


133 


D  Major. 


D  Minor. 


i^^Pi^i 


In  this  Example,  the  C^,  F  N,  and  B  b> 
of  the  Minor  Scale,  are  all  to  be  considered  as 
Flats,  when  contrasted  with  the  C  x,  F  *«, 
and  B  k9  of  the  Major  Scale, 


A  Major. 


A  Minor. 


;gEte5ggggl 


In  this  Example,  the  G  ^,  F  fej,  and  C  iq, 
of  the  Minor,  are  all  to  be  considered  as  Flats, 
when  contrasted  with  G  x,  F  *,  and  C  x,  of 
the  Major  Scale, 


SECT.  VIIL— OF  TRANSPOSITION,  Sec. 

242,  That  change  which  arises  from  the  per- 
formance of  the  same  Melody  in  a  higher  or 
ower  pitch,  is  called  Transposition. 

243.  Every  Melody  in  a  Major  Scale  may 
:oe  transposed  into  any  other  Major  Scale,  by 
altering  the  Signature  according  to  the  pitch  of 
'he  new  Tonic.    The  same  alteration  may  take 

|)lace  in  every  Minor  Melody.     When,  how- 


134  II.    MELODY. 

ever,  any  tune  is  performed  in  the  Relative,  or 
in  the  Tonic  Minor,  which  tune  was  originally 
Major,  such  change  is  not  called  Transposi- 
tion, but  Variation, 

244.  When,  in  the  course  of  a  Melody,  the 
Tonic  is  changed,  and  the  original  Scale 
altered,  by  the  introduction  of  a  new  Sharp  or 
Flat,  such  change  is  called  Modulation.  This 
will  be  further  explained  in  treating  of  Har- 
mony. 

245.  Every  Scale  has  two  others  immedi- 
ately connected  with  it ;  one  on  the  Fifth 
above,  which  adds  a  new  Sharp  to  the  Signa- 
ture ;  the  other  on  the  Fifth  below  (or  Fourth 
above,)  which  adds  a  new  Flat  to  the  Signature. 
These  two  Scales  will,  in  this  Work,  be  called 
Attendant  Keys ;  an  epithet  given  them  by 
Dr.  Boyce,  in  his  Manuscripts. 

246.  As  every  Major  Key  has  a  Relative 
Minor,  and  as  this  Relative  Minor  has  its  two 
Attendant  Keys,  hence  arise,  from  every  Sig- 
nature, six  Scales  *  nearly  connected  with 
each  other ;  three  with  Major  Thirds,  and 
three  with  Minor  Thirds* 


*  Mr.  Keeble  (Harmonics,  1784)  describes  these  Scales 
(p.  68,  71,)  and  terms  them  auxiliary.  Padre  Martini  (Saggio, 
P.  II.  p.  37,)  has  given  a  Table  of  them. 


CHAP.  IV.     KEYS.  135 

247*  Of  these,  two  are  principal,  viz.  the 
Major  and  Minor  of  the  Signature  itself ;  and 
four  are  subordinate,  viz.  the  Attendant  Keys, 
both  of  the  Major  and  of  the  Minor  :  these 
require  another  Sharp  or  Flat,  to  complete 
their  Scales,  when  a  Modulation  occurs. 

248.  Thus,  in  the  Major  Scale  of  C,  its  At- 
tendant Scales  are  G  (its  Fifth)  with  one 
Sharp,  and  F  (its  Fourth)  with  one  Flat  \  to 
which  are  annexed  the  Relative  Minor  A,  and 

i  its  two  Attendant  Scales,  viz.  E  Minor  with 
I  one  Sharp,  and  D  Minor  with  one  Flat. 

249.  The  same  arrangement  takes  place  in 
j  every  Key ;  and  it  is  necessary  to  observe*  that 
■  when  the  Minor  Key  is  first  taken,  the  Major 
I  Key  of  the  same  Signature  is  called  the  Rela- 
]  the  Major,  and  is  found  on  the  Minor  Third 
i  above  the  original  Minor  Key-note. 


136 


CHAP.  V. 

OF  THE  QUALITIES  OF  THE  JVOTES  WHICH 
COMPOSE  THE  SCALE. 


SECT.  I.— OF  THE  TONIC,  DOMINANT,  Sec. 

Art.  250.  Every  one  of  the  seven  Notes  which 
form  the  Scale  of  any  Key,  Major  or  Minor,  has 
an  effect  peculiar  to  itself :  from  this  effect  they 
derive  particular  names,  which  are  these. 

251.  I.  The  Tonic,  or  Key-note,  before  de- 
scribed (Art.  221,  p.  123,)  is  that  chief  sound 
upon  which  all  regular  Melodies  depend,  and 
with  which  they  all  terminate.*  All  its  Octaves, 
above  or  below,  are  called  by  the  same  name. 

252.  II.  The  Dominant,  or  Fifth  above  the 
Key-note,  is  that  sound  which,  from  its  imme- 
diate connexion  with  the  Tonic,  is  said  to  gov- 
ern it ;  that  is,  to  require  the  Tonic  to  be  heard 
after  it,  at  the  final  perfect  cadence  in  the  Base. 

253.  III.  The  Subdominant,  or  Fifth  below 
the  Key-note,  is  also  a  species  of  governing 
Note,  as  it  requires  the  Tonic  to  be  heard  after 
it  in  the  Plagal  Cadence.     It  is  the  Fourth  in  the 


*  This  only  relates  to  the  chief  Melody,  or  to  its  Base ;  the 
Internal  parts  of  Harmony,  as  will  be  hereafter  shewn,  con- 
clude upon  the  Mediant  or  Dominant. 


CHAP.  V.     QUALITIES  OF  NOTES.  137 

regular  ascending  Scale  of  seven  Notes,  and  is  a 
Tone  below  the  Dominant ;  but  the  term  arises 
from  its  relation  to  the  Tonic,  as  the  Fifth  below. 

254.  These  three  principal  Sounds,  the  To- 
nic, Dominant,  and  Subdominant,  are  the  radical 
parts  of  every  Scale  ;  of  the  Minor,  as  well  as 
of  the  Major.  All  Melodies  whatever  are  de- 
rived from  these  Sounds,  and  are  wholly  de- 
pendent upon  them* 

255.  IV.  The  leading  Note,  or  sharp  Seventh 
of  the  Scale,  is  called,  in  Germany,  the  Sub- 
semitone  of  the  Mode.  This  is  always  the 
Major  Third  above  the  Dominant,  and  there- 
fore, in  the  Minor  Scales,  requires  an  accidental 
Sharp  or  Natural,  whenever  it  occurs. 

256.  V.  The  Mediant,  or  middle  Note  be- 
tween the  Tonic  and  Dominant  ascending,  varies 
according  to  the  Mode  ;  being  the  greater  Third 
in  the  Major  Scale,  and  the  lesser  Third  in  the 
Minor  Scale. 

257.  VI.  The  Submediant,*  or  middle  Note 
between  the  Tonic  and  Subdominant  descend- 
ing, varies  also  according  to  the  Mode,  being 
the  greater  Sixth  in  the  Major  Scale,  and  the 
lesser  Sixth  in  the  Minor  Scale. 


*  The  Submediant  in  the  Major  Mode,  is  the  relative  Miner 
Key-note ;  and  the  Mediant  in  the  Minor  Mode,  is  the  relative 
Major  Key-note. 

N2 


138 


II.    MELODY. 


258.  VII.  The  Supertonic,*  or  Second  above 
the  Key-note,  has  seldom  been  distinguished  in 
England  by  this  or  any  other  appellation.  In 
theory  it  is  considered  as  a  variable  Sound,  be- 
ing a  Comma  higher  in  the  Major  Scale  than 
when  the  Mode  changes  to  the  relative  Minor*! 

259.  The  effect  of  the  principal  Notes  above- 
mentioned  may  be  impressed  on  the  mind  by 
the  following  short  phrases. 

I.     Tonic  and  Dominant. 
(We  praise  thee>  0  God>\) 


IL     Tonic  and  Sub  dominant, 
{Break  his  bands  of  sleep  asunder. ,§) 


i?BE: 


glpSggl 


m 


*  This  is  a  translation  of  the  French  term.  Sutonique  ;  and  it 
may  be  observed,  that  in  the  descending  Rule  of  the  Octave,  the 
Sixth,  of  the  Key  might  be  called  Sufierdominant  (Sudomnante,) 
irom  its  analogy  to  this  Note.    Bethizy,,  p.  15. 

f  This  alteration  is  explained  by  Mr.  Maxwell,  in  the  Essay 
on  Tune,  p.  23,  and  by  Rousseau,  in  his  Dictionaiy,  art.  Dia~ 
commatique. 


%  Dettingen  Te  Deum,  1743,  No.  ir,  p.  1. 
§  Alexander's  Feast,  1736,  No.  66,  p.  85, 


CHAP.  V.     QUALITIES  OF  NOTES. 

III.     Tonic  and  leading  Note. 
(The people  that  walked*) 


139 


nnni^nm 


IV.     Tonic  and  Mediant* 
(Softly  sweet  in  Lydian  measures^) 


EJSp^pgsg^^ 


V.     Tonic  and  Submediant. 
(In  the  battle  Fame  punuing.\) 


m^mmim 


260.  The  Signature  of  two  Sharps  has  been 
chosen  for  these  Examples,  that  the  effect  of 
the  same  Tonic  (and  of  its  relative  Minor  in 
the  third  Example  from  the  Messiah)  may  be 
perceived  in  performing  them  all.§. 

*  Messiah,  No.  9,  p.  43.    H.  S.  iv.  No.  301. 

f  Alexander's  Feast,  No.  66,  p.  58.    H.  S.  ii.  No,  154; 

X  Deborah,  1733,  No.  144,  p.  173.    H..S.  i.  No.  70. 

§  The  further  utility  of  these  denominations  will  appear  here- 
after.  In  Harmony,  especially,  the  terms  Tonic,  Dominant, 
Subdominant,  and  leading-  Note,  will  frequently  occur ;  the  two 
former,  as  the  principal  and  governing  Notes ;  the  two  latter,  as 
the  characteristic  Notes  of  the  Key.    (See  Art.  191,  p.  108.) 


140  II.    MELODY. 

SECT.  II.— OF  THE  CHARACTERISTIC  NOTES  OF 
THE  SCALE. 

261.  The  leading  Note  and  the  Subdomi- 
nant  are  the  two  characteristic  Sounds,  by  one 
of  which  every  Scale,  whether  Major  or  Minor, 
is  known,  and  its  Tonic  immediately  ascer- 
tained. 

262.  Thus,  in  sharp  Signatures,  the  leading 
Note  is  a  species  of  Index,  which  points  inva- 
riably to  the  next  Degree  above,  as  its  Major 
Tonic:  this  is  always  the  last  Sharp  in  the 
Major  Mode. 

263.  In  flat  Signatures,  the  Subdominant  is 
also  a  species  of  Index,  which  points  to  the 
fourth  Degree  below,  as  its  Major  Tonic :  this 
is  always  the  last  Flat  in  the  Major  Mode. 

264.  In  the  Minor  Modes  whose  Signatures 
have  less  than  four  Sharps  or  four  Flats,  the 
Subdominant,  being  always  one  of  the  natural 
Notes,  is  not  apparently  a  characteristic  of  the 
Key ;  and  therefore,  in  those  Modes,  the  lead- 
ing  Note  is  the  only  certain  Index  from  which 
the  Key-note  is  to  be  found. 

265.  The  great  importance  of  these  two  Notes 
appears  evident,  when,  in  occasional  Modula- 
tion, the  new  Key  is  required  to  be  found  by 
their  assistance.     In  all  flat  Signatures  (F  Ma- 


CHAP.  V.     QUALITIES  OF  NOTES.  141 

jor,  B  flat  Major,  E  flat  Major,  &c.)  the  lead- 
ing  Note  is  a  Natural ;  and  this  is  the  sharp 
Seventh  of  the  Key,  as  in  the  following  Ex- 
ample : 

(See  the  tall  palm.  *) 


§EE^Ip;pgiipl§jipEfiii 


Here  the  Natural  B  is  the  leading  Note  of 
the  new  Key  C. 

266.  In  the  sharp  Signatures*  on  the  con- 
trary, the  Subdominant  is  distinguished  by  a 
Natural,  and  requires,  in  Modulation,  the 
alteration  of  the  Sharp  in  the  Signature. 

(When  warlike  ensigns^) 


EBCTiagg 


Here   the  Natural  F  is  the  Subdominant  of 
the  new  Key  C. 

267.    Hence  it  appears,  that  whenever  the 

characteristic  Note  of  the  new  Key  is  marked 

by   a   Natural,   that   Natural   always   has    the 

ji  effect  of  a  Sharp,  or  of  a  Flat;   of  a  Sharp, 

1  when  it  is  a  leading  Note  ;    of  a  Flat,  when  it 

[i  is  a  Sub  dominant  \ 

*  Solomon,  1749,  No.  90,  p.  216.    H.  S.  iv.  No.  294. 

t  Art.  148,  p.  86. 

%  See  the  remarks  in  Art.  97,  p.  57,  in  Note. 


142 
CHAP.  VI. 

OF  ANCIENT  SIGNATURES. 
SECT.  I.— OF  ANCIENT  SIGNATURES  IN  GENERAL. 

Art.  268,  In  the  Music  of  Corelli,  Geminia- 
ni,  Handel,  &c.'  the  general  rules  of  finding  the 
Tonic,  either  in  the  Major  Mode,  by  the  cha- 
racteristic Notes  of  the  Signature,  or  in  the 
Minor  Mode,  by  the  leading  Note  accidentally 
inserted,  are  not  always  sufficient. 

269.  When,  instead  of  the  complete  series 
of  Sharps  or  Flats  of  the  Signature,  the  last 
Sharp  or  Flat  is  suppressed,  and  inserted  acci- 
dentally when  requisite  (like  the  leading  Note 
of  the  Minor  Mode,)  such  deviation  from  the 
usual  method  of  Notation,  will,  in  this  Work, 
be  termed  the  Ancient  Signature. 

270.  Thus,  in  the  seventh  and  twelfth  Sona- 
tas (or  Violin  Solos,)  of  Corelli,  Opera  quinta, 
the  Signatures*  appear  to  be  either  C  Major,  or 
A,  its  relative  Minor  ;  but  the  Accidental  Notes, 
C  sharp  and  B  flat,  shew  that  the  real  Key  is 


*  Although  the  term  Signature  is  defined,  Art.  228,  p.  127, 
to  be  the  number  of  Sharps  or  Flats  at  the  Clef,  yet  the  word 
will  be  also  applied  to  the  two  natural  Keys  of  C  Major  and 
A  Minor.  -  * 


CHAP.  VI.     ANCIENT  SIGNATURES. 


143 


D  Minor,  and  that  the  B  flat,  which  is  used  in 
the  modern  Signature,  is  omitted  at  the  Clef. 

271.  Examples  of  the  ancient  Signature  of 
D  Minor,  may  also  be  found  in  the  third  and 
fifth  Concertos  of  Geminiani,  Opera  seconda, 
and  in  the  fourth  Concerto  of  Opera  terza. 
For  instance,  the  first  Movement  of  his  third 
Concerto  begins  thus : 


Here  the  Key  is  known  to  be  D,  by  the  ac- 
cidental C  sharp,  and  to  be  also  D  Minor,  by 
the  natural  F,  which  remains  unalteredr  as  in 
the  Signature. 

272.  The  same  ancient  method  of  Notation 
is  sometimes  found  in  the  Key  of  G  Major9 
where  the  Sharp  of  the  leading  Note  F,  is  in- 
serted accidentally  when  requisite ;  as  in  the 
following  Example  from  the  first  Chorus  of 
Handel's  Oratorio  of  Saul,  How  excellent  thy 
name,  0  Lord,  One  of  the  intermediate 
Movements  commences  thus  : 


(The  youth  inspired  by  thee,  0  Lord.) 


t 


**-*H 


144  H.    MELODY. 


Here  the  Key  is  known  to  be  G  by  the  Sharp 
before  the  F,  which  is  used  in  the  second 
Treble  as  a  Third  below  the  A :  and  the  B 
natural  of  the  Clef  shews  it  to  be  G  Major. 


SECT.  II.— OF  ANCIENT  SHARP  SIGNATURES. 

273.  The  ancient  Signature  >of  one  Sharp,  is 
applicable  to  the  Keys  of  D  Major  and  B 
Minor ;  but  the  sharp  Signatures  of  this  an- 
cient method  are  never  found  in  the  Minor 
Mode ;  for,  as  the  Second  (or  Supertonic)  of 
the  Key  would  then  require  an  accidental 
Sharp,  the  irregularity  before- mentioned  (Art. 
232,  p.  128,)  would  perpetually  recur.. 

274.  In  the  Solos  of  Corelli  (Opera  quinta,) 
however,  several  instances  occur  of  the  ancient 
sharp  Signature  in  the  Major  Mode ;  viz.  the 
sixth  and  ninth  Sonatas  in  two  Sharps  are  in 
the  Key  of  A  Major  j  and  the  G  sharp  is  acci- 
dentally inserted. 

275.  The  eleventh  Sonata  of  the  same  work 
bears  the  Signature  of  three  Sharps,  and  is  in 
the  Key  of  E  Major,*  the  D  sharp  being  in- 
serted  accidentally. 


*  Handel's  Duett,  in  the  Oratorio  of  Athalia  (Joys  in  gentle 
train  afifiearing,)  is  also  in  this  Key,  and  has  this  Signature. 


CHAP.  VI.     ANCIENT  SIGNATURES.         145 

276.  The  ancient  Signature  of  four  Sharps 
is  found  in  Handel's  beautiful  air,  Rendi  il 
sereno  al  ciglio,  from  the  Opera  Sosarmes.* 
This  is  in  B  Major,  with  the  Sharp  to  its  lead- 
ing Note  Jy  occasionally  inserted. 


SECT.  III.— OF  ANCIENT  FLAT  SIGNATURES. 

277.  The  objection  to  the  sharp  Signatures 
(Art.  273,  p.  144,)  does  not  apply  to  "the  Flat, 
since  the  Second  of  their  Minor  Modes  is  not 
affected  by  the  Flat.  For  this  reason,  and  from 
the  variable  nature  of  the  Sixth  or  Submediant 
in  the  Minor  Scale  (Art.  236,  p.  130,)  the  an- 
cient flat  Signatures  are  very  frequently  found. 

278.  I.  The  Signature  of  one  Flat  belongs 
to  B  flat  Major  and  G  Minor.  The  following 
Example,  in  the  opening  of  Corelli's  fifth  Con- 
certo (Opera  sesta,)  is  in  B  flat  Major.f 


*  Introduced  by  Dr.  Arnold,  1786,  in  the  Oratorio  of  Re- 
demption, to  the  words,  Lord,  remember  David. 

t  This  will  be  mentioned  hereafter,  as  a  very  striking  instance 
of  the  use  and  effect  of  Harmony  in  deciding  the  Key  and  Mode, 
independent  of  the  Signature. 
O 


146 


II.    MELODY. 


279.  The  eighth  Concerto  of  Corelli  opens 
with  this  Signature  in  G  Minor,  as  in  the  fol- 
lowing Example  :* 


giilg^SM 


280.    II.    The  Signature  of  two  Flats  belongs 
to  E  flat  Major. 

(Cease  thy  anguish. f) 


PiiiiiiliiiiP 


281.    The   Signature  of  its  relative   Minor 
Mode  G,  is  very  common. 

(The  flocks  shall  leave  the  mountains. J) 


282.  III.  The  Signature  of  three  Flats,  is 
unusual  in  the  Major  Mode  of  A  Flat,  but  ex- 
tremely frequent  in  the  Minor  of  F.     Handel, 


*  This  also  depends  upon  Harmony  for  the  decision  of  its 
Key  and  Mode.  The  Melody,  as  it  here  stands,  might  be 
equally  in  B  flat  Major  or  G  Minor;  but  the  F  sharp,  which 
accompanies  the  C  in  the  second  Measure,  decides  the  Key. 

f  Athalia,  1733,  No.  3,  p.  125.    H.  S.  ii.  No.  93. 

±  Acis  and  Galatea,  1720,  No.  30,  p.  72.    H.  S.  iv.  No.  320. 


CHx\R  VI.     ANCIENT  SIGNATURES.         147 

indeed,  has  seldom  (if  ever)  used  the  modern 
Signature  in  this  Mode. 

(Te  sons  of  Israel.*) 

283.  In  this  Example,  the  E  natural  is  the 
leading  Note,  and  points  to  the  Key-note  F; 
of  which  A  fiat  is  the  lesser  Third,  and  decides 
the  Mode. 

*  Samson,  1742,  No.  53,  p.  172.    H.  S.  i  No.  19. 


2TND   OF   THE   SECOND   PART 


148 

PART    III. 

HARMONY. 


CHAR  I. 

OF  THE  TRIAD. 


SECT.  L— OF    THE   CONSONANT   AND   DISSONANT 
TRIADS. 

Art.  284.  Two  or  more  Melodies,  heard  at 
the  same  time,  form  Harmony  ;#  and  the  dif- 
ferent combinations  of  Notes  in  Harmony  are 
termed  Chords. 

285.  The  union  of  any  Sound  with  its  Third 
(Major  or  Minor)  and  its  perfect  Fifths  forms 
the  Harmonic  Triad,f  or  common  Chord, 


*  Dr.  B.  i.  136.  Harmony  was  formerly  (according  to  Tinc- 
/or— -see  Dr.  B.  ii.  458)  synonymous  with  Melody,  and  the  term 
Counterpoint  was  applied  to  what  we  call  Harmony.  This  term 
Is  derived  from  the  ancient  Points  or  Notes,  which  were  placed 
counter  or  opposite  to  each  other  on  the  Staff.  The  Examples 
in  this  Third  Part  will  be  given  in  Counterpoint ;  that  is,  heads 
of  Notes,  without  their  Stems,  will  be  used. 

f  Triad,  m  Music,  signifies  three  different  Sounds  combined 
together,  at  the  distance  of  a  Third  and  a  Fifth  from  the  lowest,. 


CHAP.  I.     TRIAD. 


149 


This  is  termed  the  Major  or  Minor  Triads 
according  to  the  nature  of  its  Third, 


Major  Triad. 


Minor  Triad. 


$=r 


3        5 


i 


286.  When  the  Octave  of  the  lowest  Note 
is  added,  four  Sounds  are  heard  in  the  Har- 
mony. 

Major  common  Chord.  Minor. 


§ 


_*__-*_" 


ii" * 


287.  There  are  also,  besides  these  two  Con- 
sonant Triads,  two  Dissonant  Triads  5*  one 
Diatonic,  the  other  Chromatic. 

I.  The  Diatonic  Dissonant  Triad,  or  dimin- 
ished Triad  of  the  Germans  (B,  D,  F)  consists 
of  two  Minor  Thirds. 


! 


I 


m 


*   Maipurg    (Handbuch,    1755)    adopted   this   classification, 
|j    which  Kirnberger  rejected.     Kollmann  follows  the   system  of 
this  last  ingenious  Writer,  and  considers  the  diminished  Triad 
02 


150  III.    HARMONY. 

II.  The  Chromatic  Dissonant  Triad,  or  super- 
fluous Triad  of  the  Chromatic  Scale  (C?  E,  G 
sharp,)  consists  of  two  Major  Thirds. 


13  5 


The  Consonant  Triads  are  formed  of  the  two 
dissimilar  Thirds,  Major  and  Minor,  united  ; 
the  Dissonant  Triads  are  formed  of  two  similar 
Thirds,  both  Minor  or  both  Major. 

288.  In  the  Natural  Diatonic  Scale  (Art.  50, 
p.  22,)  there  are  six  Consonant  Triads  ;#  three 
Major  and  three  Minor. 

Major  Triad.  Minor. 

UpEiHIiii^p 

Ail  the  Major  Triads  become  Minor,  by 
flattening   their   Thirds ;    and   all   the   Minor 


as  a  consonant  Harmony.  The  Author  of  this  Work  prefers 
the  arrangement  of  Marpurg,  which  seems  most  agreeable  to 
the  theoretical  doctrine  of  Harmonics. 

*  From  these  Triads  are  derived  the  six  Scales  before-men- 
tioned, Art.  247,  p.  135.  The  primary  and  secondary  Scales 
of  Mr.  Keebie  (p.  68,)  are  reckoned  in  the  Major  Mode, 
1st,  4th,  and  5th  C,  F,  G,  2d,  3d,  and  6th  D,  E,  A,  ascending* 
and  arc  inverted  in  the  Miner  Mode  (p.  Tl.) 


CHAP.  I.     TRIAD.  I  Si 

Triads    become    Major,    by  sharpening    their 
Thirds;  thus, 

289.  The  Diatonic  Dissonant  Triad  has  (by 
license)  its  Third  sometimes  flattened  and 
sometimes  sharpened ;  and  thus  are  formed  two 
altered  Triads,*  which  are  very  seldom  used. 


These  altered  Triads  consist  of  a  Major  and: 
an  extreme  flat  Third,  and  are  consequently 
both  Chromatic. 

290.  The  Prime  9  or  lowest  Note  of  the  Triad9 
was  called  by  Rameau  its  fundamental  Base.f 


*  See  Heck  (Thorough  Base,)  p.  20.  The  German  Authors 
term  these  Triads  anomalous.  See  also  Kallmann  (Essay  on 
Harmony,  1796,)  p.  34. 

f  The  Root  being  placed  one  or  two  Octaves  below  the  Chord 
of  the  Accompaniment,  makes  no  difference  in  its  derivation; 
the  radical  Base  depending  always  on  the  three  combined  Sounds 
>  of  the  Triad,  whether  in  close  or  dispersed  Harmony.  For  an 
account  of  Rameau  and  his  system,  see  Dr.  B.  iv.  609.  Sir  J.  H. 
v.  384.  See  also  a  very  satisfactory  account  of  the  discoveries 
of  Galileo  Galilei,  by  Dr.  Burney,  art.  Base  fundamental?  ia 
Dr.  Rees'  Cyclopaedia,  lately  published. 


152 


III.    HARMONY. 


in  this  Work,  the  term  Radical  Base,  or  simply 
the  Root,  will  be  adopted. 

291.  The  Roots  of  the  two  Consonant 
Triads  are  easily  understood,  as  every  radical 
Base  must  have  a  perfect  Fifth  ;  but  the  Roots  of 
the  two  Dissonant  Triads  (Art.  287,  p.  149,) 
and  of  the  two  altered  Triads  (Art.  289,  p.  1 51 ,) 
cannot  be  explained  till  the  nature  of  Discords 
is  known. 

292.  When  the  three  Sounds  of  the  Triad 
are  taken  as  an  accompaniment,  and  the  Root 
remains  in  the  Base,  the  Chord  assumes  three 
different  positions* 


1st  position. 

2d  position. 

3d  position. 

& 

m 

%     z 

|    3 

05- 

£ 

i 

^U 

2 

w 

i 

T7^ 

rr." 

-3-    

-#■ 

-#• 

-j___________ 



■— 

_ j 

The  first  position  is  that  of  3d,  5th,  and  8th* 
The  second,  of  5th,  8th,  and  3d. 
The  third,  of  8th,  3d,  and  5th. 
It  must  be  observed,  that  the  second  posi- 
tion, in  reality,  consists  of  the  Fifth,  Eighth, 


CHAP.  I.     TRIAD.  153 

and  Tenth,  and  the  third  position,  of  the 
Eighth,  Tenth,  and  Twelfth  of  the  Root; 
but,  as  the  Tenth  and  Twelfth  are  Octaves  of 
the  Third  and  Fifth,  and  as  they  are  repre- 
sented by  the  sarne  letters,  they  are  also  called 
by  the  names  of  Third  and  Fifth,  whatever 
may  be  their  distances  above  the  Root 


SECT.  II.—  INVERSIONS  OF  THE  TRIAD. 

293.  When  the  lowest  Note,  instead  of  be- 
ing the  Root,  is  the  Third  or  the  Fifth  of  the 
Triad,  such  change  is  termed  Inversion.* 

294.  The  Inversions  of  the  Triad  differ  from 
its  Positions  ;  as  the  former  relate  to  the  whole 
Harmony,  including  the  Base,  and  the  latter  to 

I  the  Accompaniment  alone,  independent  of  the 
Base.  Hence  every  Triad  has  three  Positions., 
but  only  two  Inversions  ;  for,  when  the  Root  is 
in  the  Base,  the  Chord  is  called  Direct,  whal- 


*    Dr.   Pepusch    (p.  8,)  calls  the  two  Inversions  supposed 
Bases,  and  terms  the  Chord  of  the  Sixth  the  uncommon  Chord  ; 
i  not  because    it   is  unusual  or  improper,  but  in  contradistinc- 
tion to  the  common  Chord,  or  that  of  which  the  lowest  Note  is  a 
fundamental  Base  (p.  16.) 


154 


III.    HARMONY. 


ever  may  be  the  Positions  of  the  Accompani- 
ment. 

295.  I.  The  Chord  of  the  Sixth,  is  the  first 
Inversion  of  the  Triad,  when  the  Base  Note 
becomes  the  Third  of  the  Harmony,  instead  of 
the  Root.  This  Chord,  in  the  figures  of  Thor- 
ough Base,  is  expressed  by  a  6 :  to  which  also 
belongs  the  Third  of  the  lowest  Note  (or  Fifth 
of  the  Root ;)  and,  in  the  practice  of  Counter- 
point, the  Octave  of  the  lowest  Note  is  either 
omitted,  or,  if  four  parts  are  requisite,  the 
Sixth  or  the  Third  may  be  doubled* 


!=*: 


m 


m 


296.    The  same  arrangement  takes  place  in 
the  Minor  Triad,*  and  its  first  Inversion  $   in 


*  An  ingenious  Theorist,  Pizzati  (Scienza  de'  Suoni,  1782,) 
reckons  the  Minor  Triad  dissonant  (p.  313,)  because  it  does 
not  produce  the  third  Sound  of  Tartini,  &c.  On  the  con- 
trary, Kirnberger  (1774)  asserts,  that  the  diminished  Triad  is 
consonant,  because  it  is  "used  in  Harmonical  Progression,  like 
the  other  two  Triads. 


CHAP.  I.     TRIAD. 


155 


the  first  Inversion  of  the  Diatonic  Triad, 
B,  D,  F,  however,  the  Sixth  is  never  doubled, 
but  the  Octave  preferred,  when  four  parts  are 
requisite. 


r 


m 


6 


m 


m 


Root. 


297.    A  stroke  through  the  figure  six,  thus  g, 
elevates  the  Sixth  Note  from  the  Base,  a  Chro- 
i  matic  Semitone ;  and,  when  used  on  a  Minor 
Sixth,  makes  it  the  first  Inversion  of  the  Disso- 
nant Triad  J  thus, 


3p: 


t- 


When  the  same  mark  occurs  on  a  Major 


156  III.    HARMONY. 

Sixth,  it  makes  it  the  first  Inversion  of  the  alter- 
ed Triad  (Art.  289,  p.  151  5)  thus, 


-9 — m~ 


Ei 


These  two  Chords,  which  are  of  great  im- 
f>ortance,  will  be  hereafter  distinguished  by  the 
names  of  the  sharp  Sixth  and  of  the  extreme 
sharp  Sixth  ;  the  first  always  accompanied  by  a 
Minor,  and  the  second  by  a  Major  Third. 

298.  II.  The  Chord  of  the  Fourth  and 
Sixth,*  is  the  second  Inversion  of  the  Triad, 
when  the  Base  Note  is  the  Fifth  of  the  Har- 
mony, instead  of  the  Root.  It  is  expressed, 
in  Thorough  Base,  by  a  4  under  a  6,  and,  in 
four  parts,  the  three  positions!  of  the  Triad 


*  Kimberger  considers  this  Harmony,  when  suspended,  as 
dissonant  (see  Mr.  Kallmann,  -Essay  on  Harmony,  p.  31 ;)  but 
Marpurg  has,  in  the  Appendix  to  his  Essay  on  Temperament 
(1776,)  shewn  that  the  classification  of  his  opponent  is  not 
well  founded,  and  that  the  theory  is  not  strictly  true. 

f  Mr.  Shield  (p.  3)  has  given  the  Positions,  without  distin- 
guishing- them  by  this  name  ;  the  Inversions  are  described  by  him 
(p.  2G)  under  the  Titles  of  first  and  second  Derivatives. 


CHAP.  I.     TRIAD.  15*7 

are  used  as  its  Accompaniment  (Art.  292, 
p.  152,)  without  any  regard  (as  in  the  Chord 
of  the  Sixth)  to  the  omission  of  one  Note,  or 
the  doubling  of  another  (Art.  295,  p.  154.) 


g^^^i^E^i 


6  6        6        6 

6         4  444 


BEE 


r— zfi— i=jEZZ=jgzz=^: 


>ECT.    III.— OF     THE      DIRECT     AND     CONTRARY 
II  MOTIONS,  AND    THE    RULES    FOR    THEIR    USE 
IN    HARMONY. 

299.  Before  the  Harmonical  succession  of 
<f triads  can  be  rightly  understood,  it  is  neces- 
sary to  explain  the  different  Motions  of  the 
"  Wts  which  constitute  Harmony.  Two  of 
--hese  are  essential,  viz.  the  direct  Motion  and 
ieVhe  contrary  Motion. 

f    300.    In  the  direct  Motion,  the  parts  move 
I*  the  same  way,  ascending  or  descending. 


153  IH.    HARMONY. 

SOI.    In  the  contrary  Motion,  one  part  rises, 
while  the  other  falls. 

302.    By  the  knowledge  of  these  two  Mo- 
tions, the  power  of  avoiding  many  harmonica 
irregularities   may  be    obtained,  and  the  fol-j 
lowing  rules*  of  Harmony  correctly  observed. 

I.     All    consecutive   Octaves  and   Fifths   must 
be  avoided  in  the  direct  Motion. 

Octaves  and  Fifths  by  the  The  same  avoided  by  the 

direct  Motion.  contrary  Motion. 


~|=§=:f=j    W    »  f  k»l 


II.  All  unnecessary  Skips  are  to  be  avoided, 
and  all  the  Chords  are  to  be  taken  as  closely 
and  as  much  connected  as  possible. 

III.  All  false  Relations,  (such  as  the  extreme 
sharp  Second,  &c.)  are  disallowed,  unless  for 
the  expression  of  some  particular  effect. 

IV.  All  irregular  Motions  of  the  parts  in 
Harmony  are  to  be  avoided.     Every  Major  or 


*  The  ten  Kales  of  Pietro  Aron  (1523,  Dr.  B.  iii.  155)  were 
afterwards  extended  to  twelve.    See  Cerone  (El  Melopeo,  163 
p.  571,)  and  Lorente  (El  Porque,  1673,  p.  293.) 


CHAP.  I.     TRIAD.  1£3 

sharp  Interval  ought  to  ascend,  and  every  Mi- 
nor or  flat  Interval  ought  to  descend  ;  that  is  to 
say,  the  part  in  which  those  Intervals  are  found 
in  combination,  is  to  rise  after  the  Sharp,  and  to 
fall  after  the  Flat.-  This  rule,  however,  is  always 
subordinate  to  that  of  avoiding  Octaves  or 
Fifths,*  and  is  not  regarded  when  the  Melody  is 
to  produce  an  effect  opposite  to  the  rule.  The 
internal  parts  of  Harmony,  however,  are  to  be 
regulated  by  these  observations. 


SECT.  IV— GF  HARMONICAL  PROGRESSION. 

I  303.  The  term  Progression^  will  be  used,  in 
!  this  Work,  in  contradistinction  to  the  term 
^Modulations  to  signify  that  succession  of 
;  Triads  or  perfect  Chords,  which,  by  being  con- 

.1 

*  Nicolas  Burtius  (Musices  Opusculum,  1487,)  the  Guido- 
(>  niati   adversary    of  Bartholomew  Ramis,  was   a  Pythagorean 
follower   of  Boethius,  and   admitted  no  Consonances  but  Oc- 
taves, Fifths,   and  Fourths.    He  calls  the  Thirds  and  Sixths 
'allowable  Dissonances  (dissonantice  comfiassibiles,)  and  has  given 
G(fol.  e,  5)  five  Precepts  of  Counterpoint,   which  wjll  ever  be 
classical,  particularly  that  of  avoiding  Fifths  and  Octaves  in 
'» succession. 

t  Tonfuhrung,  Koch's  Anleitung,  ii.  139. 

%  Tonausweichung,  Koch's  Anleitung,  ii.  169. 


160  III.    HARMONY. 

fined  to  the  Scale  of  the  original  Key,  onl; 
admits  the  Tonic  and  its  two  attendant  Har 
monies,  occasionally  interspersed  with  the  rela. 
tive  Tonic  and  the  two  Harmonies  attending 
on  that  Scale  \  whether  the  original  Mode  b 
Major  or  Minor. 

Although  a  change  into  the  relative  Seal 
implies  a  partial  Modulation,  yet  in  all  cases 
where  the  new  Scale  remains  undecided,*  hi 
the  omission  of  the  leading  Note,  and  the  origin  I 
al  Tonic  still  continues  a  predominant  Sound 
the  term  Progression  will  be  retained. 

304.  As  the  Scale  consists  of  seven  differen 
Notes,  it  is  evident  that  two  Triads,  which  onl) 
contain  Jive  Notes  (one  Note  being  common  tc 
both,)  cannot  decide  the  Key.  Hence  the  fol 
lowing  Examples,  although  perfectly  similai 
in  Notes,  appear,  by  means  of  the  Accent,  tc 
be  in  two  different  Keys,  and  are  therefore; 
equivocal. 

In  the  Key  of  G.  In  the  Key  of  C. 


EgSlli 


305,   If,  however,  three  different  Chords  are 
taken,  the  Key  may  be  decided :    this  is  per- 

*  Particularly  in  Sequences,  a3  will  be  explained  hereafter, 


CHAP.  I.     TRIAD.  161 

formed   by  the  Progression*  of  Tonic,  Sub- 
dominant,  and  Dominant. 


is|^3=m=i 


P 

:*zzpl:i:zzzzzzz=£z: 


S06i    Thus,  in  the  Tonic  Harmony, -j 
are  found  the  3d  and  the  5th  I  of  the 

In  the  Subdominant,  the  4th  and  !  Root  of 

6th  j  the 

And  in  the  Dominant,  the  2d  and     Scale.t 
j  Vtl  J 

I        307.    The  Major  Mode,  with  its  relative  Mi- 
nor, and  the  four  attendant  Harmonies,  may 
1   be  thus  arranged  : 

Tonic.      Domt      Subdt.        Rel.Mm.   ItsDt..  Its  Subdt. 


mw^m. 


*  The  following  excellent  observation  of  Dr.  Pepusch  (p.  8) 
cannot  be  too  often,  or  too  strongly,  impressed  upon  the  mind 
of  the  Student,  viz.    all  melodies  have   the  perfect 

CONCORDS    OF    THE    KEY    THEY    ARE    IN    FOR    THEIR   FUN- 


Ll     DAMENTAL   BASES. 

t  This  arrangement  is  like  that  before  given  (Art.  191,  p.  103,) 
where  the  Chords  are  shewn  detached  in  Minims, 
P2 


162  ill.    HARMONY. 

308.  The  Minor  Mode,  with  its  relative 
Major,  and  the  four  attendant  Harmonies,  may 
be  thus  arranged : 


Tonic.      Domt      Subdt.       ReLMaj.  ItsSubdt  ItsDt. 


I 


309*  The  relative  attendant  Harmonies  are 
very  seldom  used,  particularly  the  relative 
Subdominant,  or  Second  of  the  Major  Mode 
(as  D  in  C  Major ;)  but,  in  modern  Music,  this 
Harmony  more  frequently  occurs,  and  will  be 
further  explained  hereafter.* 

310.  The  motions  of  the  radical  Bases  or 
Roots  of  these  Chords,  are  reducible  to  six, 
divided  into  three  classes. 

I.  The  Dominant!  Motion,  or  ascent  of  the 
4th  or  5th. 

II.  The  Mediant  Motion,  or  ascent  of  the 
3d  or  6th. 


*  Dr.  Pepusch,  although  he  expressly  allows  the  Harmo- 
nies of  A,  and  of  E,  in  C  Major,  makes  no  mention  of  D^ 
p.  18. 

t  The  Dominant  Motion  is  the  foundation  of  the  perfect  and 
imperfect  Cadences,  as  the  Gradual  Motion  is  of  the  false  and 
mixt  Cadences :  these  will  be  explained  in  the  Fourth  Chapter 
e£  this  Part. 


CHAP.  I.     TRIAD.  163 

III.  The  Gradual  Motion,  or  ascent  of  the 
2d  or  7th. 

These  may,  of  course,  be  inverted,  and  be- 
come the  same  descending  -7  as  the  Directs  to- 
wards the  remoter  distances  shew  in  the  Ex- 
ample. 

I.   Dominant.  II.  Mediant.  III.   Gradual. 

Ascent  of  4th,  3d,  and  2d. 


siz*: 


:—je: 


w 


e 


Descent  of  4th,  3d,  and  2d. 

,  b^ 

^ — ,,... .y/. — — . 1 


311.  Of  these  Motions,  the  Dominant  and 
the  Mediant  are  regular,  having  a  Sound  com- 
mon to  both  Chords  ;  but  the  Gradual  is  irreg- 
ular, as  the  Chords  have  no  connexion  with 
each  other. 

312.  When  the  Melody  moves  regularly,  by 
Degrees  ascending  or  descending,  the  following 
Progressions*  in  the  Base  are  often  employed. 


*  See  Koch's  Lexicon,  art.  Dreyklang,  i.  49L 


$64  in.  harmony: 


I.    Dominant  Motion  by  Fourths. 

Rising  Fourths  and  falling  Fifths 

iszz=:zz?:z=z=pez==z: 

Descending  Melody.  S-£l f- 0- 


pr— : 


Ascending  Melody. 


Rising  Fifths  and  falling  Fourths. 

EC — » — !_ — a. p: — 


I 


II.     Mediant  Motion  by  Thirds. 

Rising  Thirds  and  falling  Fourths. 

t^r jg — 1 

Descending  Melody.  *^ — £ »■ y 4 

Rising  Fourths  and  falling  Thirds. 
Ascending.  Melody. 


SEEE*=EE 


IIL     Gradual  Motion  by  Seconds. 

Rising  Seconds  and  falling  Thirds. 
Descending  Melody.  &Z gj E— i 


Descending  Melody 


Rising  Seconds  and  falling  Fourths. 


165 


CHAP.  II. 

OF  THE  DOMINANT  SE  VENTH,  ITS  INVERSIONS, 
RESOLUTION  AND  OF  MODULATION 


SECT.  I.— OF  THE  DOMINANT  SEVENTH. 

313.  When  a  Minor  Seventh  is  joined  to  the 
Major  Triad,  a  Chord  of  four  different  Sounds 
is  formed,  and,  as  this  only  occurs  when  the 
Fifth  of  the  Key  is  the  Base  Note,  the  Harmony 
is  called  the  Dominant*  Seventh, 


s=^ 


The  Note  which  forms  the  Discord  in  this 
Harmony,  is  the  Subdominant  or  Fourth  of 
the  Scale  j  and  being  a  Minor  Interval,  re* 
quires  the  part  in  which  it  is  heard,  to  descend 
one  Degree. 


*  The  Dominant  before-mentioned  (Art.  252,  p.  136,)  de- 
rives its  name  from  the  ancient  Church  Tones,  in  which  it  was 
the  Fifth  in  the  Authentic,  and  the  Octave  in  the  Plagal  Scales, 
but  always  a  Fifth  above  the  final  or  modern  Tonic.  Mer- 
senne,  in  his  learned  work*  entitled,  Traite  de  l'Harmonie 
Universelle,  first  published  in  8vo.  under  the  assumed  name 


166  in.    HARMONY. 

314.    In  the  Major  Mode,  this  descent  is  a 
Semitone,  as  in  the  following  Example  : 


gr==E 


In  the  Minor  Mode,  the  E  becomes  flat,  and 
the  descent  is  consequently  that  of  a  Tone. 

315.  The  Major  Third  of  the  Dominant, 
which  is  also  the  Sharp  Seventh  or  leading 
Note  of  the  Scale,  must  ascend.  Thus,  in  the 
Major  Scale,  the  two  characteristic  Notes  are 
united,  and  form,  between  themselves,  the  In- 
terval  of  the  flat-  Fifth,  of  which  the  Root  is 
the  Dominant :   thus, 

iHHiipi 

316.  In  all  regular  progression,  the  Domi- 
nant Seventh  requires  the  Triad  of  the  Tonic 
to  succeed  it ;  and  hence  its  Base-note  is  called, 
by  Rameau,  the  governing  Note  or  Dominant 
of  the  Key. 


©f  Le  Sieur  de  Sermes  (Paris,  1627,)  has  given  the  following 
explication  of  the  term  : 

"  II  faut  remarquer  que  le  Pseaume  est  dit  se  chanter  en  fa, 
en  la,  &c.  non  qu'il  n'ait  que  cette  seule  note ;  mais  parce 
qu'elle  est  plus  souvent  repetee  que  les  autres ;  de  la  vient 
qu'  on  L'appelle  Dominante,  car  elle  s'entend  plus  souvent  que 
les  autres,  et  gouverne  le  ton."    (P.  248,  249.) 


CHAP.  II.     DOMINANT  SEVENTH. 


167 


317.  The  Dominant  Seventh  is  used,  like  all 
other  Discords,  either  by  Transition,  Addition, 
or  Suspension  ;#  and  must  in  all  cases  be  re- 
solved, that  is,  taken  away,  by  the  descent  of 
the  part  in  which  it  is  found.  As  a  passing 
or  added  Note,  it  is  employed  without  prepa- 
ration;  thus, 


I.    By  Transition. 


II.    By  Addition. 


^=a=g=f=j 


318.  But,  as  a  suspended  Note,  it  must  be 
prepared,  that  is,  heard  in  the  preceding  Har- 
mony j  thus, 


!=El 


:|: 


m 


In  this  instance,  the  T?  prepares  the  Seventh 
in  the  first  Harmony  ;    is  heard  as  a  Discord  in 
|  the  second,  and  resolves,  by  descending  to  E, 
:  in  the  third. 


-  *  Every  Discord  of  Suspension  must  be  prepared,  struck, 
and  resolved ;  hence  arise  the  three  terms,  Preparation,  Percus- 
sion, and  Resolution,  described  by  Padre  Martini,  Saggio  di 
Contrappunto,  p.  27. 


168  in.    HARMONY. 

3 1 9.  There  are  several  other  Sevenths,  used 
in  Harmony,  upon  the  different  Triads  of  the 
Scale  (whether  Consonant  or  Dissonant,)  in 
both  Modes.  These  sevenths,*  although  not 
exactly  Chords  of  the  Dominant,  are  never- 
theless used  in  its  place,  to  avoid  Modula- 
tion ;  as  will  be  hereafter  explained  in  the  fifth 
Chapter  of  this  Part  on  Sequences.  They  also 
preserve  a  uniform  motion  in  the  progression 
of  their  Roots,  (Art.  312,  p.  164,)  and,  at  the 
same  time,  produce  a  Melody,  descending  by 
Degrees,  in  the  original  Key.     These  are, 

320.  L  The  Minor  Sevenths  with  Minor 
Thirds,  on  the  Triads  of  A,  D,  and  E,  which 
belong  to  A  Minor.t 


P^i 


*  M.  Frameiy  (Encyclopedic  Methodique,  art  Dominante) 
controverts  the  Nomenclature  of  Rameau,  Bethizy,  &c.  in 
which  these  Sevenths  are  called  simple  Dominants,  and  the 
principal  one  Tonic  Dominant ;  and  shews  that  the  term  ought 
to  be  confined  to  the  Fifth  of  the  Key:  this  arrangement  is 
followed  in  the  present  Work. 

|  The  first  inversion  of  this  Chord,  taken  on  the  Subdom- 
inant  of  the  Major  Key,  is  in  the  system  of  Rameau  a  fun- 
damental Chord  with  the  added  Sixth.  It  will  be  shewn 
hereafter,  that  the  Root  depends  upon  the  Key  or  Scale,  and 
that  the  Seventh,  D,  F,  A,  C,  has  D  for  its  root  in  A  Minor, 
and  F  fcr  its  Root  in  C  Major. 


CHAP.  H.     DOMINANT  SEVENTH.  169 

321.  II.  The  Major  Sevenths  with  Major 
Thirds,  on  the  Triads  of  C  and  F,  which  be- 
long to  C  Major.  These  are  often  found  in 
passages  of  Transition,  as  the  Directs  shew  in 
the  following  Examples : 


:_. : — i — £ ^ — 3 


322.    III.    The  Minor  Seventh  with  the  Flat 
Fifth,  upon  B. 

In  C  Major.  In  A  Miner. 


This  belongs  either  to  C  Major,  or  to  A 
Minor,  according  to  its  Resolution,  as  shewn 
by  the  Directs.  If,  however,  the  Dominant 
on  E  should  require  G  natural  instead  of  G 
sharp  (as  shewn  by  the  last  Directs,)  the  Chord 
becomes  part  of  a  Sequence,  and  the  Minor 
Mode  of  A  changes. 

323.  IV.  The  extreme  Flat  Seventh*  upon 
G  sharp  in  A  Minor,  formed  of  three  Minor 
Thirds. 


*  Or  equivocal  Chord.    Shield,  p,  122, 
Q 


rro  HI.    HARMONY. 

324.   The  Seventh,  consisting  of  four  Sounds, 
admits  of  four  different  Positions  ;*  thus, 

1st.  2d.  3d.  4th. 


p= iz=t 


£=T 


£HH 


z+ *. 0. 0. — i 


The  first  position  is  that  of  3d,  5th,  7th,  and 
3th. 

The  second,  of  5th,  7th,  8th,  and  3d. 
The  third,  of  7th,  8th,  3d,  and  5th. 
The  fourth,  of  Sth,  3d,  5th,  and  7th. 

These  positions,  like  those  of  the  Triad 
(Art.  292,  p.  152,)  contain  the  Tenth,  Twelfth, 
and  Fourteenth  of  the  Root,  when  the  Third, 
Fifth,  and  Seventh,  are  taken  above  the 
Octave. 


*  In  general,  the  Octave  to  the  Root  is  omitted,  otherwise 
a  Chord  of  five  Sounds  would  be  employed ;  a  combination 
seldom  necessary.  Pasquali  (Thorough  Base,  p.  20)  has  uni- 
formly given  the  Chord  of  the  Seventh  full,  with  four  Notes  in 
the  Accompaniment ;  but  this  appears  irregular,  as  three 
Notes  are  generally  sufficient.  At  a  final  Cadence,  indeed* 
the  Dominant  may  be  taken  thus,  D,  F,  G,  B,  but  then  the 
following  Tonic  ought  to  consist  of  C*  E,  G,  C. 


CHAP;  II.     DOMINANT  SEVENTH.  17 1 

SECT.  II.— OF  THE  INVERSIONS  OF  THE  DOMINANT 
SEVENTH, 

325.  This  Harmony,  which  consists  of  four 
different  Sounds,  has,  consequently,  three  In- 
versions, besides  its  direct  form  of  3d,  5th9 
and  7th,  just  described,, 

326.  I.  The  Chord  of  the  Fifth  and  Sixth* 
is  the  first  Inversion  of  the  Dominant  Seventh, 
when  the  lowest  Note  becomes  the  Third*  of 
the  Root.  In  Thorough  Base,  it  is  expressed 
by  a  5*  under  a  6  (to  which  the  Third  is  un- 
derstood,) and,  in  practice,  the  Octave  of  the 
Base  Note  is  omitted. 


P=r=l==:epi=±=^|=z==?p[zi=*:3 


6  6  6  6 

5  5  5  5 


31 


m 


*  It  is  often  usual  to  omit  the  six,  and  to  express  this  Chord 
/  by  a  five  singly,  with  the  stroke  through  it,  thus  it,  like  the 
N  sharp  j§  (Art.  297,  p.  155;)  and,  as  this  always  implies  the 
y  flat  Fifth  (Art.  163,  p.  96,)  the  Sixth  and  the  Third  are  con- 
l;;  sequently  understood.  This  Inversion  is  employed  in  the 
I  Hailstone  Chorus  {Israel  in  Egy/it,)  and  finishes  the  Sequence 
of  Sixths,  to  the  words,  "  ran  along  upon  the  ground."" 


172  IH.    HARMONY. 

327.  II.  The  Chord  of  the  Third  and 
Fourth  is  the  second  Inversion  of  this  Har- 
mony, when  the  lowest  Note  becomes  the 
Fifth  of  the  Root.  It  ought,  according  to 
its  derivation,  to  be  expressed  by  a  S  under  a  4 
(to  which  the  Sixth  is  understood ;}  but,  as  the 
Fourth*  (or  proper  Root  of  the  Harmony)  is 
not  pleasing  to  the  ear,  it  is  usually  omitted. 
Thus,  the  Chord  appears  as  a  simple  Sixth* 
and  also  as  the  first  Inversion  of  the  Diatonic 
Dissonant  Triad,  D,  F,  B. 


I tw && %js — : : 


6  4 

5  3 


£fc — g — -+ — g b m — 1 


*  Mattheson  (Orch.  i.  1713,  p.  128,)  rejects  the  Fourth  from 
'among  the  Concords,  and  asserts  its  dissonant  nature.  Handel, 
Corelli,  &c.  have  uniformly  omitted  it  in  this  Harmony.  The 
theoiy  of  the  one,  and  the  practice  of  the  others,  seem  to  be, 
in  this  instance,  justified,  by  the  want  of  Melody  in  the  in- 
termediate part,  when  the  Fourth  is  inserted.  In  modern 
Music,  however,  this  Inversion  is  used  complete  with  consid- 
erable success,  when  the  Tonic  Base  both  precedes  and  fol- 
lows it  See  an  admirable  instance  in  the  Opera  of  Mote- 
siima,  by  Sacchini,  at  the  Chorus,  "  Nett'orror,  p.  62,  65. 


CHAP.  II.     DOMINANT  SEVENTH.  173 

328.  III.  The  Chord  of  the  Second  and 
Fourth  *  is  the  third  Inversion  of  this  Har- 
mony, when  the  lowest  Note  becomes  the  Dis- 
cord, and  the  Triad  commences  on  the  next 
Degree  above.  It  is  expressed  by  a  2  under  a 
4  (to  which  the  6th  is  understood,)  sometimes 
by  a  2  alone. 


SEfe|Efe|=b|E^=Ey 


6         4         4  4         4 

7         5         3         2  2         2         2 


^EH 


i~iy=y==i= 


*  As  the  third  Inversion  of  the  Dominant  produces  a  very- 
great  effect,  the  compositions  of  the  best  Masters  afford  frequent 
examples  of  its  utiLity.     In   the  last  Chorus  of  the  Messiah 
i  yimen^)  before  the  final  pause,  this  Inversion  of  the  Dominant 
I  Harmony  of  A,  upon  the  Base-  Note  G,  is  a  remarkable  instance 
I  of  the  sublimity  of  Handel. 


Q2 


174  HI    HARMONY. 

SECT.  III.— OF   THE   RESOLUTION   OF   THE.  DOMI- 
NANT SEVENTH. 

329.  The  descent  of  the  part  in,  which  the 
Dominant  Seventh  is  found,  is  called  its  Res- 
olution ;  and,  as  before  observed,  (Art.  314^ 
p.  166,)  that  descent  is  either  a  Tone  or  a 
Semitone,  according  to  the  Mode. 

330.  This  Resolution  of  the  Seventh,  occa- 
sions two  apparent  irregularities,*  viz. 

I.  The  four  Sounds  of  the  Dominant,  fol- 
lowed by  the  three  of  the  Triad  ;  in  which  the 
last  Harmony  is  weakened  by  two  parts  be- 
coming Unison^ 

i.  ii.  in.  rv. 


BPp^E^1=lifEi 


%  -r-  r  i 


i 


*  See  the  remarks  on  Pasquali,  in  the  Note,  p.  170. 

t  The  Unison  parts  are  placed  in  the  middle  Staff,  -with  Stem? 

turning  both  "ways. 


CHAP.  II.     DOMINANT  SEVENTH. 


175 


II.  The  omission  of  the  Fifth  in  the  Tonic 
Triad,  when  the  antecedent  Dominant  is  taken 
without  the  Octave  to  the  Base ;  thus, 


i=1=p=g=S 


i 


331.  When,  however,  instead  of  the  Octave, 
the  Fifth  or  Third  of  the  Dominant  itself  is 
omitted,  the  subsequent  Triad  can  be  taken 
complete ;  thus, 


E^ijE^ajjj=3 


In  all  these  Examples,  the  Minor  Seventh 
(or  Subdominant  of  the  Scale)  descends ;  and 
the  Major  Third  of  the  Dominant  (or  leading 
Note  of  the  Scale)  ascends.*  (See  Art.  315, 
p.  166.) 


*  Rousseau,  art  Sauver — Koch  and  Sulzer,  art.  Auflosungy. 
pi     have  written  long  and  useful  articles  on  this  subject.    See  also 
Shield,  p.  69. 


176 


111.    HARMONY. 


332.  Two  instances  also  occur,  when  this 
general  rule  of  resolving  the  Seventh  by  the 
descent  of  the  Melody,  is  apparently  neglected. 

I.  When,  by  license,  the  Base  itself  takes 
the  Resolution  ;* 


Thus, 


instead  of 


m 


m 


i 


II.  When,  after  the  third  Inversion  (Art* 
328,  p.  173,)  the  Base,  instead  of  descending 
a  Semitone,  descends  a  Fourth  to  the  Tonic, 
and  another  part  takes  the  Resolution  j 


Thus,, 


instead  of 


*  Kollmann,  Essay  on  Harmony,  p.  38.    Holden,  p.  65. 


CHAP.  II.     DOMINANT  SEVENTH. 


iw 


333.  A  more  unusual  license  is  taken  in  the 
following  Example,  from  what  are  called 
Haydn's  Sonatas,  Op.  40,*  where  the  Base 
descends  to  the  Root  by  the  contrary  motion, 
and  the  Seventh  is  resolved  by  the  intermediate 
part,  as  shewn  by  the  Direct. 


-•-  -m-     •      * 


iii 


S34.  The  same  Base,  in  respect  of  the  let- 
ters, but  in  the  direct  motion  (which  may  be 
found  in  some  attempts  at  Composition,)  is 
decidedly  false,  and  ungrammatical  (as  at  A ;) 
although  the  very  same  Melody,  on  the  Tonic 
Base  continued  (as  at  B,)  is  frequently  and 
very  properly  employed. 


7 


(A) 


(B) 


pNi^iNiii 


gjppgg 


I 


:s: 


*  The  two  first  of  these  three  Sonatas  were  composed  by 
Pleyel,  and  only  the  last  in  G  by  Hay  dm 


178  HL    HARMONY. 

335.  Not  only  the  Positions  of  the  Dominant 
Seventh  may  be  changed,  but  the  Inversions 
also  may  succeed  each  other,  previous  to  its 
Resolution.*  Great  care,  however,  must  be 
taken,  in  the  arrangement  of  the  parts,  to  pre- 
vent transgressing  the  rules  given,  p.  158. 

336.  I.  The  first  Inversion,  or  Chord  of  the 
Fifth  and  Sixth y  resolves  by  the  Base  ascending 
a  Semitone,  as  in  the  following  Example  (at  A.) 

II.  The  second,  or  Chord  of  Third  and  Fourth, 
resolves  by  the  Base  descending  a  Tone  (as  at 
B ;)  and, 

III.  The  thirds  or  Chord  of  Second  and  Fourth, 
resolves  by  the  Base  descending  a  Semitone  (as 
at  C.) 

(A)  (B)  (C) 


.==JE 


P       -m- 


ir-rr  .    ;  ^=^ 


6  6  41- 

5 

337.  The  other  Sevenths  (p.  168,)  when 
used  in  Sequences,  have  similar  Inversions  ; 
and  the  same  method  of  Resolution  is  gene- 
rally applicable  to  them  all. 

Rameau,  p.  84. 


CHAP.  II.    DOMINANT  SEVENTH.  179 

SECT.  IV.— OF  MODULATION. 

338.  As  all  changes  of  Key  are  known  de- 
cidedly by  the  use  of  the  Dominant  Seventh, 
the  different  Modulations  from  both  Scales  will 
be  now  explained. 

Modulation  from  the  Major  Scale. 

339.  L  To  the  Scale  of  its  Subdominani. 
The  principal?  and  most  simple  change  of  Key, 
is  that  which,  by  adding  a  Minor  Seventh  to 
the  Tonic,  makes  it  a  new  Dominant ;  and 
hence  the  Subdominant  becomes  a  new  Tonic ; 
thus, 

b7 


|  340.  This  Modulation  being  continued,, 
forms  a  circle  of  descending  Fifths*  (or  as- 
cending Fourths,)  of  which  the  following  series 
is  part : 

N7  m  NY 


&:EzEiE^£E~EEa 


m- 


ULi: 


m~ + — zZtMZlt 


b7  b7  b-7 


m^tEEEm 


Shield*  p.  45,  78, 


180  HI.    HARMONY. 

341.  II.  To  the  Scale  of  its  Dominant.  The 
second  change  is  that  which,  by  retaining  the 
Octave  of  the  Tonic  itself,  as  a  Seventh,  anc 
by  making  the  Base  ascend  a  Tone  in  grada- 
tion,* descends  from  the  Super  tonic  to  the 
original  Dominant ;  thus, 

7 


m 


m 


342.  This  Modulation  being  continued, 
forms  a  circle  of  descending  Fifths  (or  ascend- 
ing  Fourths,)  of  which  the  following  series  is 
part : 

7  7  7 


jy*      w  d£. 3L m  *.■■■-. 

— -b » — £- & — - — ^— — ■ P- — -— ■ 

7                        7                         7 
*                        *                         « 

343.  These  two  Modulations  are  in  continual 
use;  the  last,  or  Dominant  change,  in  the  for- 
mer part  of  a  Movement  ;  and  the  first,  or 
Subdominant  change,  towards  the  conclusion, 
to  restore  the  original  Tonic.     The  Subdomi- 


*  Holden,  p.  72,  art  210, 


CHAP.  II.     DOMINANT  SEVENTH.  181 

nant  Modulation  only  requires  two  Roots,  but 
that  of  the  Dominant  requires  three. 

344.  III.  To  the  Scale  of  the  Subdominant 
or  Relative  Minor.*  The  third  change  is  that 
in  which  the  Base  rises  from  the  Tonic  to  the 
Mediant ;  and,  making  that  a  new  Dominant, 
by  the  addition  of  the  Seventh,  descends  to  the 
Relative  Minor  Tonic. 

7 
dfcz— rzzzzez 


m 


345.    A  similar  Modulation  being  continued, 
forms  a  circle  of  Keys,  in  which  the  Major  and 
Relative  Minor  succeed  each  other  alternately, 
i  and  of  which  the  following  series  is  part. 

7  7  7 

*     fcq7  *     b7  «     b7 

j  This  Modulation  requires  four  Roots,  pre- 
•  vious  to  the  alteration  of  its  Signature  ;  but  the 
i  sudden  addition  of  the  Seventh  (especially 
31  after  the  Minor  Tonic,)  is  rather  harsh  and 
r,:  unexpected. 


*  Rameau,  p.  67. 
R 


182  III.    HARMONY. 


346.  IV.  To  the  Scale  of  the  Mediant,  or 
Relative  Minor  of  the  Dominant.  The  fourth 
change  is  that  which,  through  a  previous  Mod- 
ulation into  the  Dominant,  makes  the  original 
Mediant  a  Tonic  $  thus, 


347.  V.    To  the  Scale  of  the  Supertonic,  or 
Relative   Minor   of  the    Subdominant,      The 
fifth   change   is   that    which,   by   making  the  I 
Submediant  a  Dominant,  forms  a  new  Scale  on 
the  Super  tonic  $  thus, 


S|=Bil 


348.  This  change,  although  apparently 
simple,  is  in  reality  very  remote,  as  before  Ob- 
served, Art.  309,  p.  162,  and  will  be  hereafter 
more  particularly  considered. 


CHAP.  II.     DOMINANT  SEVENTH.  183 


Modulation  from  the  Minor  Scale. 

349.  I.  To  the  Scale  of  its  Subdominant. 
The  principal  change,  like  that  in  the  Major 
Mode  (Art.  339,  p.  179,)  is  made  by  adding 
a  Seventh  to  the  Tonic,  and  sharpening  its 
Third,  to  form  a  new  Dominant  \  thus, 


350.  It  To  the  Scale  of  its  Dominant.  The 
second  change  requires  an  additional  Harmony 
(borrowed  from  the  Sequence  of  Sevenths*)  to 
alter  its  Signature,  previous  to  the  use  of  the 
new  Dominant  y  thus, 


m 


■£ Wf' 


This  will  be  more  fully  explained  hereafter. 


184  IH.    HARMONY. 

351.  III.  To  the  Scale  of  its  Mediant  or 
Relative  Major.  The  third  change  is  made  by 
the  reversed  Gradation,*  or  the  descent  of 
Tone  \  thus, 


352.  IV.  To  the  Scale  of  its  Submediant 
The  fourth  change  adds  a  Seventh  to  the  Me 
diant,  as  in  the  Minor  Modulation  before 
given,  Art.  345,  p.  181. 

b7 

353.  V.  To  the  Scale  of  its  Seventh.  The 
fifth  change,  which  is  very  unusual,  is  mad< 

from  the  original  Subdominant  with  a  Majoi 
Third ;  thus, 


oe; 


m 


*  Shield,  p.  20.     Diatonic  Succession  of  Chords.     Holden 
p.  72,    Rameau,  p.  116. 


CHAP.  II.     DOMINANT  SEVENTH.  185 

354.  Although  no  Modulation  is  complete 
without  the  use  of  the  Dominant  Harmony, 
which  contains  always  one,  and  in  the  Major 
Mode  both,  of  the  characteristic  Notes  of  the 
New  Scale  (see  Articles  261,  p.  140,  and  315, 
p.  166;)  yet  the  order  in  which  this  Harmony 
is  given  in  the  foregoing  Examples,  is  not  in 
all  cases  necessary  to  be  observed. 

355.  Modulations  are  continually  formed 
from  one  Scale  to  another,  by  means  of  Tonic 
Harmonies  alone  ;  but,  in  those  instances,  it  is 
proper  to  introduce  the  new  Dominant  as  soon 
as  possible,  to  decide  the  Key;  otherwise,  the 
equivocal  effect,  before  adduced  (Art;  304, 
p.  160,)  would  frequently  occur. 

356*  The  limits  of  the  present  Work  will 
not  allow  a  more  extensive  consideration  of 
this  important  branch  of  Harmony.  The 
changes  here  given  are  the  foundation  of  all 
regular  Modulation ;  and,  in  the  Chapter  of 
i  Licenses,  a  more  ample  explanation  of  irregular. 
Modulation  will  be  found* 


R2 


!  ; 


2  86 
CHAP.  IIL 

OF  DISCORDS. 


Art.  357.  Discords  are  used  in  Harmony, 
either  by  Transition,  Suspension,  Syncopa- 
tion,* or  Addition. 


SECT.  I— DISCORDS  OF  TRANSITION. 

358.  Any  Note  which  passes  by  one  Degree 
between  the  other  Notes  of  the  Triad,  forms  a 
Discord  of  Transition  ;  and,  if  found  on  the 
weak  part  of  the  Measure,  is  termed  a  passing 
Note. 

(Handel,  4dh  Sonata.i) 


^^i=gSlsMi 


The  following  radical  Base  shews  which  are 
the  Discords  of  regular  Transition,  and  which 
are  Concords,  in  the  preceding  Example. 


*  The  Discords  of  Suspension  and  Syncofiation  must  be  reg- 
ularly prepared,  struck,  and  resolved  (Art.  318,  p.  167;)  but 
those  of  Transition  and  Addition  require,  as  their  names  imply,, 
no  preparation. 

t  Dr.  A.  No,  47,  p.  29. 


CHAP.  III.     DISCORDS.  187 

359.  The  Notes  of  irregular  Transition  are 
found  on  the  strong  parts  of  the  Measure,  and 
are  called  by  the  Germans,  Changing  Notes, 
(Art.  106,  p.  63.) 

In  the  following  Example,  a  particular  in- 
stance of  irregular  Transition  occurs. 


(Overture  to  the  Messiah.) 

.LA., 


"3b  •  I    .-A  ** 


:«f 


^5E=^^= 


The  last  Note  but  one  (viz.  the  F  sharp)  is 
here  taken  as  a  Discord  by  irregular  Transi- 
tion, which  the  radical  Base  placed  below  de- 
monstrates. 

360.  The  Notes  of  regular  and  irregular 
Transition  are  intermixed    in   the  following 

passage. 


188 


HI.    HARMON  V. 


(Thus  saith  the  Lord.*) 


gmnss 


-T-^" 


361.  In  modern  Music,  all  the  Discords  of 
Transition  may  be  reduced  to  Appoggiaturas 
or  After-notes  (Art.  105,  p.  63.)  Thus,  the 
Quavers  in  the  following  Phrase  may  be  turned 
into  Crotchets  preceded  by  Appoggiaturas. 

(PleyePs  Sonata  1 ,  to  the  Queen.) 

Rondc. 

362.  The  reduction  of  this  Phrase  shews  the 
real  Notes  of  the  Harmony,  and  explains  the 
nature  of  irregular  Transition,!  in  which  Ap- 
poggiaturas are  always  employed. 


gEEgEglE 


*  Messiah,  Dr.  A.  No.  6,  p;  19. 

f   Mcrley  observes   (p.  81)  concerning  Passing  Notes,   that 
it  is  impossible  to  ascend  or  descend  in  continual  Deduction 


CHAP.  HI.     DISCORDS. 


189 


363.  When  the  Notes  of  Transition  are  pro- 
longed, they  appear  as  integral  parts  of  the 
Harmony,  and  are  sometimes  marked*  with 
the  figures  of  Thorough  Base  \  thus, 

(Corelli,  Concerto  8tb,  Dr.  PepuscFs  edition*) 


3& 


i 


kt. 


without  a  Discord;"  but  he  seems  to  condemn  (p.  79)  those 
which  are  now  termed  Discords  of  irregular  Transition.  See 
some  excellent  remarks  on  these  Discords  in  Dr.  Burney,  ii.  462. 

*  A  stroke  also  drawn  over  the  Notes,  instead  of  the 
figures,  is  used  as  a  mark,  to  shew  the  continuance  of  the  first 
Harmony.  Emanuel  Bach  (Versuch,  2d  Part,  p.  25)  has  pro- 
posed several  methods  of  distinguishing  the  Notes  of  irregu- 
lar Transition  from  those  of  the  Harmony.  Pie  prefers  the 
oblique  stroke  ;  a  specimen  of  which  may  be  seen  in  Heck, 
p.  12.  Mr.  Kollmann  (Essay  on  Harmony,  p.  50)  has  explained 
the  two  kinds  of  Transition  in  the  class  of  Accidental  Chords1. 


190 


HI    HARMONY. 


These  two  intermediate  Notes  between  the 
Tonic  and  the  Dominant  descending,  are  Dis- 
cords of  regular  and  irregular  Transition, 
They  are  explained  by  an  After-note  and  an 
Appoggiatura,  as  in  the  following  Example : 


es 


t 


$ 


m 


364.  The  same  Base  Passage  (a  Semitone 
lower  in  D  Major)  is  employed  by  Handel ;  in 
which  the  Notes  are  not  transient,  but  each 
bears  its  own  proper  Harmony,  according  to 
the  reversed  Gradation  from  the  Dominant.* 


(Hallelujah — Messiah.") 


6       6      4      2 


*  The    Hypodiatonic    Cadence    of   Mercadier    de    Belesta 
(1776,  p.  28;)    a  progression  which  will  ever  remain  classical, 
notwithstanding  the  objection    of  M.    La  Borde,    and  his  re- 
marks upon  M.  Levans,  iii.  646,  654.     (See  also  Lampe's  Tho- 
rough Bass  (1737,)  p.  26.) 


CHAP.  III.     DISCORDS. 


191 


365.  In  passages  of  double  Transition,  par- 
ticularly when  regular,  the  slow  time  of  the 
Note  does  not  affect  the  Harmony  of  the  Root, 
as  in  the  second  measure  of  the  following  Ex- 
ample : 

(i?<?  was  bruised— Messiah*) 


fcipfezSq:— :^— ii*ri^=J 


Kx~ 


LX^dl^L^JU 


k£E£E£ 


¥©: 


-H- 


m 


lp=fcp= 


5     6 

3     4 

3 


6     5 


9      8 
bra 


kizEE? 


=:Ii 


i 


3 


9   8 
b 


366.    In  this  passage,  the  Harmony  of  D  flat 
is  succeeded  by  that  of  F,  and  the  transient 
1  Fourth  and  Sixth  are  unnoticed  in  the  radical 
I  Base. 


192 


HI.    HARMONY 


^ECT.  II.— DISCORDS  OF  SUSPENSION  * 

1.    Of  the  Fourth.^ 

367.  The  Fourth,  accompanied  with  the 
Fifth  and  Eighth,  is  an  Appoggiatura,  con- 
tinued in  the  place  of  the  Third,  on  the  strong 
part  of  the  Measure.  It  is  generally  prepared^ 
and  is  resolved  by  descending  one  Degree. 


(Corelli,  Concerto  10,  p.  140.) 


m^m 


K&M- 


§El^i=i 


43 


43 


^m 


-•F— 


m 


fc=f 


368.    It  has  two  Inversions,  viz.  the  Second 
and  Fifth,  which  suspends  the  Sixth  (Art.  2959 


*  While  Rameau,  in  France  (1722,)  was  confusing  his  Sys- 
tem with  a  false  Theory  of  these  Discords,  Fux,  at  Vienna 
(1725,)  explained  them  in  a  few  words,  as  simple  Retardations 
of  the  following  Note :  u  Notas  ligatas  haud  aliud  esse,  quam 
Note  sequentis  Retardationem."    P.  70. 

f  This  Chord,  under  the  title  of  eleventh  Heterodite  (that 
is,  used  only  in  part,  or  in  an  imperfect  state,)  makes  a  con- 
spicuous figure  in  the  Theory  of  Rameau.    P.  41,  96,  98,  &c< 


CHAP.  III.     DISCORDS. 


193 


p.  154,)  and  the  Fourth  and  Seventh,  which 
suspends  the  Fourth  and  Sixth  (Art.  298, 
p.  J  56,)  the  two  Inversions  of  the  Triad. 


1st  Inversion. 


i^mm 


2d  Inversion. 


m 


e33E=a 


m 


3 

2      6 


7      6 
4      4 


EO 


in 


II.     Of  the  Ninth. 

369.  The  Ninth,  accompanied  with  the 
Third  and  Fifth,  is  an  Appoggiatura,  conti- 
nued in  the  place  of  the  Eighth.  It  is,  like 
the  Fourth,  generally  prepared,  and  always 
resolved.* 


*  The  intermixture  of  the  Discords  of  Supsension  with 
those  of  Transition,  is  beautifully  exemplified  in  the  opening 
cf  Pergolesi's  Stabat  Mater.    (See  Mr.  Shield,  p.  66.) 


S 


1&4  III.    HARMONY. 

(Corelli,  Concerto  10th,  p.  140.) 


-PttJ 


''Z'L&M 


igma 


w 


a 


B- 


P~T 


9  8        6 


9  8 


6 


370.  The  double  Suspensions  of  the  Fourth 
and  Ninth,  and  of  the  Seventh  and  Ninth,  fre- 
quently occur.  An  early  example  is  found  in 
Carissimi.* 


mmn-:i\fm 


msm 


9     8 
4     3 


9     8 
4     6 


9     8 
7     6 


3EEEEI 


nn 


*  See  his  "  Plorate  filiae  Israel,"  printed  in  Kircher,  i.  604 
This  passage  is  also  used  by  Corelli,  and  by  Handel,  in  Sam- 
son, "Hear  Jacob's  God,"  &c.  Dr.  B.  iv.  146=  Sir  I  H. 
iv.  92,    La  B.  iv.  460,    (See  also  Rameau,  p.  97.) 


CHAP.  Ill,     DISCORDS. 


195 


371.  The  Chord  of  the  Ninth  has  two  In- 
versions 'r  one  figured  with  a  Seventh,  followed 
by  its  Resolution  the  Sixth,  on  the  Third  of 
the  Root ;  the  other  figured  as  Fifth  and  Sixth, 
on  the  Fifth  of  the  Root. 

372.  The  following  Tonic  Pedal  or  Organ- 
point,  is  a  very  important  study  for  the  Chords 
of  Suspension*** 


(0  the  pleasure  of  the  plains*i) 


gliiiliag^ 


5 

4     3 


6    —    5    —        4    —    3 
5     4     4     3  3     2      1 


B± 


nm 


-©- 


-9 h 


4    — 


7  — 
9     8     4     3        6     5 


B£ 


Radical  Base. 


it. y  iAj=m 


*  The  Abbe  Roze  (see  La  Borde,  torn.  iii.  p.  476)  shews 
clearly  that  these  passages  form  a  species  of  Supposition,  in 
which  the  Holding  Note  is  not  considered  in  the  Radical  Base, 
art.  9,  p.  482. 

|  Acis  and  Galatea.  Dr.  A.  No.  28,  p.  8.  See  a  similar  pas- 
sage in  the  celebrated  air  of  Vinci—"  Vo  solcafldq  un  mar 
crudele."    The  remarks  of  Tartini  (p.  148)  are  also  important. 


196  IS.    HARMONY. 


III.     Of  the  Appoggiaturas  of  Suspensio?i. 

373.  Although  every  Note  of  Suspension 
may  be  reduced  to  an  Appoggiatura,*  yet,  in 
modern  Music,  some  Notes  are  more  particu- 
larly used  as  such  than  others,  and  differ  from 
those  just  described  by  greater  freedom  in  their 
resolution. 

374.  Any  part  of  the  Dominant  Seventh  may 
be  retained  on  the  Tonic  Base,  and  afterward 
proceed  according  to  its  proper  motion,  (Art. 
S3],  p.  175.) 

375.  The  Ninth  also  may  resolve  by  ascend- 
ing into  the  Tenth,  and  the  sharp  Seventh  (or 
leading  Note)  must  resolve  by  ascending  into 
the  Eighth. 


*  The  opinion  of  Emanuel  Bach  is  very  decisive  on  this 
subject ;  he  even  agrees  with  Fux,  &c.  that  all  Ligatures  and 
Dissonances  may  be  reduced  to  Appoggiaturas. 

"Man  kann  alie  Bindungen  und  Dissonantien  auf  diese 
Vorschlage  zuruck-fuhren." — Ver&uch,  p.  45. 

This  is,  however,  extending  the  term  somewhat  too  far,  as 
the  essential  Sevenths  of  Kirnherger,  which  are  used  in  the 
Sequence  of  descending  Fifths  (Art.  383,  p.  200,)  cannot  be 
considered  as  Appoggiaturas  (Verschlage,)  although  they  are 
bound  by  the  Ligature  (Bindung.) 


CHAP.  III.     DISCORDS.  19? 

376.  In  this  ascending  Resolution  of  the 
Dominant  Seventh,  the  figure  of  the  suspended 
Ninth  often  becomes  a  Second  ;*  thus, 


377.  In  Diatonic  Sequences,  as  will  be 
shewn  hereafter,  every  Note  of  the  Scale  may 
bear  single  or  double  Suspensions. 

All  these  Notes  are  nothing  more  than  the 
retardation  or  retention  of  a  Sound,  longer 
than  the  duration  of  its  own  Root,  upon  a  new 
radical  Base.f 


*■  In  modern  Music,  the  whole  Harmony  of  the  Dominant 
is  often  retained  in  the  place  of  the  Tonic,  and  the  radical 
Base  Note  of  the  Tonic  itself  suspended  till  the  latter  part  of 
the  Measure.  This  will  be  further  explained  in  treating,  of  the 
Csesure. 

I  That  peculiar  effect  which  is  produced  from  an  internal 
Melody  by  the  employment  of  Suspension,  has  been  well  de- 
scribed by  Rousseau,  art.  Unity  of  Melody.  In  this  valuable  ar- 
ticle, while  he  wishes  to  exalt  his  favourite  branch  of  Music, 
Melody,  at  the  expense  of  Harmony,  he  actually  proves  the 
superiority  of  the  latter,  and  praises  those  beautiful  effects 
which,  without  Harmony,  could  not  exist. 
S2 


198  HI.    HARMONV; 


IV.     Of  Anticipation,*  &c* 

378.  When  a  Note  is  diminished  by  half  its 
value,  and  the  following  Degree  employed  to 
fill  up  its  time  upon  the  former  Base,  such 
change  is  termed  Anticipation.  These  antici- 
pated Notes  are  considered  wholly  as  relating 
to  Melody,  and  are  not  noticed  by  the  figures 
of  Thorough  Base. 

(A)  (B)  (C) 


ppippiiifpil 


379.  In  the  foregoing  example,  taken  from 
the  Lexicon  of  Kochf  (article  Vorausnahme,) 
the  first  Measure  (A)  contains  the  simple 
Notes ;  the  second  (B)  shews  the  Anticipation 
in  Quavers;  and  the  third  (C)  repeats  the 
same  Anticipation  in  syncopated  Notes. 

_ — 

*  The    term  Anticipation   is   used   in  a  different  sense  by 
Heck,  p.  53. 

f  Anticipations  are  considered  by  Koch  as  After-notes, 
which  may  be  tied  on  to  the  chief  Note  of  the  following 
Melody. 


CHAP.  III.     DISCORDS. 


199 


380.  The  Postpositions  of  Dr.  Pepusch,*  are 
in  reality  nothing  more  than  irregular  Suspen- 
sions, being  the  reverse  of  the  Anticipations, 
and  used  in  the  following  manner  : 


-FT" 

~t~T 

:rfr 

~p~f~P=| 

J,e_ 

— d 

b 

-z.cz 

-4— 

( 

381.  Many  other  Chords  of  Suspension  may 
be  formed,  by  combining  all  the  preceding  in 
different  ways.  Hence  arise  the  Second  and 
Third,f  the  Sixth  and  Ninth,  &c.  &c. ;  which 
may  be  found  in  Kirnberger,  Kollmann,  Shield, 
&c. 


*  Treatise  on  Harmony,  1731,  p.  49.  "Postposition,  or 
Retardation  of  Harmony,  is  the  putting  a  Discord  upon  the 
accented  part  of  the  Bar,  followed  by  a  Concord  on  the  next 
unaccented  part,  but  not  prepared  and  resolved  according  to 
the  rules  for  Discords."    Example  130, 131, 132. 

t  This  Chord,  which  arises  from  a  Suspension  of  the  Base, 
is  described  by  Emanuel  Bach,  p.  91 ;  Heck,  p.  54 ;  and  Shield, 
p.  50. 


200 


III.     HARMONY. 


SECT.  Ill— DISCORDS  OF  SYNCOPATION. 

382.  The  Discords  of  Syncopation*  only 
differ  from  those  of  Suspension!  by  constitut- 
ing part  of  the  radical  Harmony,  and  by  not 
being  merely  Appoggiaturas. 

383.  The  Diatonic  Sequence  of  Sevenths,  is 
one  of  the  principal  passages  in  which  these 
Discords  are  used. 


i^^fe^is 


m 


§ 


7_7       7      7        77 


z—& 


mm 


384.  The  German  Authors,  previous  to  the 
writings  of  Kirnberger  (1774,)  seem  to  have 
classed  the  Discords  of  Suspension  with  those 


*  The  term  Syncope,  or  Syncopation,  signifies  the  division 
©r  cutting  through  a  Note  by  a  Bar,  or  Accent  expressed  or  un- 
derstood. 

f  The  term  Suspension  is  used  in  its  most  extensive  sense  in  a 
former  article  (p.  167,  Art."  317,)  for  the  purpose  of  shewing 
the  difference  between  prepared  and  unprepared  Discords. 


CHAP.  III.     DISCORDS.  201 

of  Syncopation  ;*  but  his  arrangement  of 
Chords,  into  essential  and  accidental,  establishes 
that  difference  between  them  which  is  adopted 
in  this  Work. 


SECT.  IV.— DISCORDS  OF  ADDITION. 

385.  When  any  Discord  which  has  not  been 
heard  in  the  preceding  Harmony,  is  united  to 
the  perfect  Triad,  it  is  termed  in  this  Work  a 
Discord  of  Addition^ 

386.  The  Discords  of  Addition  are  the  Sev- 
enth, the  Ninth,  both  on  the  Dominant  j  and 
the  Sixth  on  the  Subdomipant  j  these  are  par- 
ticularly useful  in  distinguishing  those  two 
Harmonies  from  that  of  the  Tonic, 

I.     Of  the  added  Seventh. 

381.  The  whole  Second  Chapter  of  this  Part, 
from  p.  165  to  185,  relates  to  the  Dominant 

*  Heck  places  them  together,  p.  13;  and  Heck  was  well 
versed  in  the  Musical  Literature  of  Germany. 

f  The  Discords  of  Addition,  although  implied  in  the  writings 
of  Morley,  p.  143 ;  Simpson,  p.  67 ;  Pepusch,  p.  40,  168,  8cc. 
were  not  fully  established  until  Mr.  Holden's  Essay  appeared 
in  1770.  The  term  Addition  is  now  adopted  in  France  by 
M.  Langle  (1801,)  but  in  a  less  extensive  sense. 


202  m.    HARMONY. 

Seventh,  particularly  Art.  317,  where  the  dif- 
ference between  the  added  and  the  transient 
Seventh  is  shewn.  The  third  Section,  p.  174*, 
treats  of  its  Resolution  ;  which  term  is  equally 
applied  to  the  descent  of  the  Seventh,  whether 
used  by  Transition,  Suspension,  Syncopation,, 
or  Addition. 


II.     Of  the  added  Sixth. 

388.  As  the  Dominant  Harmony  is  distin- 
guished from  that  of  the  Tonic  by  its  added 
Seventh,  so  the  Subdominant  is  distinguished 
from  the  Tonic,  and  from  the  Dominant,  by 
its  added  Sixth.* 

389.  Whenever  the  Melody  of  a  single  part 
(as  at  A,)  or  the  Harmony  of  the  whole  (as  at 
B,)  requires  it,  the  Subdominant  may  have  it* 


*  Theorists  are  divided  in  their  opinions  concerning  the  Root 
of  this  Chord;  but  a  great  majority  of  Authors  are  in  favour 
of  its  derivation  from  the  Second  or  Supertonic  of  the  Key. 
(See  Shield,  p.  21,  22,  &c.  &c.) 

Rameau  seems  to  have  been  the  first  who  classed  it  as  a 
theoretical  Chord ;  but  Morley  (p.  160,  2d  edit)  gives  a  speci- 
men of  its  practical  use,  and  even  allows  it  in  Count  erf wint, 
where  Concords  are  chiefly  employed.  Holden  follows  D'Aiem- 
bert  and  Serre,  and  inclines  to  the  doctrine  of  Double  Funda- 
mentals. Marpurg  ar.d  Kii  nberger  unite  in  rejecting  this  Chord 
as  an  addition,  and  both  censure  Rameau, 


CHAP.  III.     DISCORDS. 


203 


own  Sixth  (or  Supertonic  of  the  Scale)  added 
to  its  Triad. 


(A)  (A) 

:=^~i±::i=^:zgr:ircb=iJ:;i:rz::: 


j^j^gpEsagpa 


6       6 
5      4 


6 
6      5 


6      5 
4       3 


o-zzzz: 

EC — — — 


izszrpziiz  Ezzezizpzzzzizzzqri 


Sixth  added  for  the  Melody. 


i 


=^fc 


S= 


HM 


- — j- — e — 


3 


HZEEJOI 


Sixth  added  for  the  Harmony. 


390.  The  Fifth  and  &'*/£  on  the  Subdomi- 
nant  may  be  prepared  by  the  Tonic,  by  the 
Submediant,  or  by  the  Dominant,*  as  radical 
Bases ;  thus, 


*  The  ^preparation  of  the  added  Sixth  by  the  Dominant,  is 
found  in  the  final  Cadence  of  Steftani's  Motet,  Qui  diligit. 


204 


III,    HARMONY. 


SeIIP  Si  Ep| 


3EEEEI 


e-T- 


o — O" 
6 
5 

-i~e" 


~T=e—   EEzEIElE   EE5EIEI 


By  the  Zbmc.         By  the  Submediant.    By  the  Dominant. 


391.  This  Discord  may  resolve  two  ways, 
viz.  into  the  Tonic  (on  its  second  Inversion,) 
or  into  the  Dominant  Harmony.* 


^m   t=pi=li 


EE 


o 

6  6 

5  4 


Added  Sixth.    Tonic. 


E=j       eEEElEIEgEj 


Added  Sixth.  Dominant. 


392.  The  Inversions  of  this  Harmony  are 
seldom  used;  one  instance,  however,  occurs 
in  Handel's  Overture  to  Esther. 


*  Rameau  has  resolved  it  also  into  the  Tonic  Base,  as  an 
irregular  Cadence.    (See  also  Play  ford  (1700,)  p.  163.) 


CHAP.  III.     DISCORDS. 


205 


393.  When  this  Harmony  appears  in  the 
form  of  a  Seventh  on  the  Supertonic,  jt  fre- 
quently constitutes  part  of  the  Diatonic  Se- 
quence of  Sevenths,  and,  as  such,  may  be  ac- 
counted radical,  like  the  diminished  Triad  of 
Kirnberger. 


ism^ 


IIIZOZ 


206  in.    HARMONY. 

394.  Rameau*  estimates  the  Root  of  this 
Harmony  by  its  Resolution,  calling  it  D  when 
followed  by  G,  and  F  when  followed  by  C. 
Heck  t  considers  it  as  a  compound  of  both  the 
Harmonies  of  D  and  of  F.  Dr.  Boyce  (in  his 
MSS.)  and  with  him  the  Author  of  this  Work, 
thinks,  that  the  Root  is  decided  by  the  Scale 
of  the  Key  in  which  it  is  found  ;  thus5 


^^^n 


D  in  A  Minor.  F  in  C  Major. 

395.    Koch,  in  his  Lexicon  (art.  Verbindungs 
Accord,)  has  placed  his  accidental  \  Harmonies 

*  Rousseau,  Art.  Double  Emjiloi. 

\  Heck,  p.  74,  says,  "  The  ascending  Fourth  of  the  Scale  bears 
its  own  natural  Harmony  with  an  additional  Sixth,  in  order  to 
prepare  the  succeeding  Fifth,  and  is  thus  compounded  of  two 
common  Chords,  that  of  D  and  F." 

X  Koch  terms  the  three  Harmonies  of  the  Key  essential,  and 
the  three  relatives  accidental.    (See  before,  Art  305,  p.  160.) 


chap.  nr.    DISCORDS.  207 

in  a  different  point  of  view.  He  considers 
them  as  connecting  Chords,  and  seems  to  agree 
with  Kirnberger,*  who  asserts  that,  by  a  spe- 
cies of  Transition,  the  Harmony  of  the  Triad 
is  thus  united  to  another  of  its  Inversions. 


!=zrgz==Ez=g=:zzz=g=:3:===g=d 


4 


a~7"T~"-T==i^pi 


In  these  Examples,  the  middle  Harmony  is 
said  to  pass,  or  to  be  wholly  transient. 

396.  Which  of  these  opinions  is  nearest  the 
truth,  the  Author  does  not  at  present  presume 
to  decide  ;  but  the  consideration  of  the  Minor 
Mode  with  the  imperfect  Fifth  on  its  Super- 
tonic  B,  authorizes  him  to  assert,  that  the  sys- 


*  See  Kirnberger  (die  wahren  Grundsatze,  p.  34.) 

Heck  thinks  that  the  Seventh  used  Jay  Transition  (as  in  this 

passage)  does  not  resolve  at  all  (p.  14) 

Keeble  also    (p.  90)    has   accounted  for  this  Seventh  in  a 

similar  manner,  under  the  name  of  Extension, 


208 


III.    HARMONY. 


tem  which  makes  that  Note  a  radical  Base, 
cannot  be  true. 

A  Minor. 


III.     Of  the  added  Ninth.* 

397.  When  to  the  Chord  of  the  Dominant 
Seventh,  the  Ninth  is  also  joined,  a  Chord  of 
five  Sounds  is  formed.  It  rises  from  the  Root 
by  regular  Thirds,!  in  the  following  manner  : 


^^ 


i^=! 


-e— — 


In  C  Major.  *      In  A  Minor. 


*  M.  Langle  (Nouvelle  Methode  pour  chiffrer  les  Accords, 
Paris,  1801,)  has  completely  overthrown  the  doctrine  of  Ra- 
meau  concerning  Supposition,  and  the  absurdity  of  imagining 
Sounds  under  a  fundamental  Base. 

f  The  construction  of  all  Chords  by  uniting  Thirds,  was  a 
favourite  notion  of  Rameau's  :  it  has  had  some  success ;   but 


CHAP.  III.     DISCORDS.  209 

398.  This  Harmony  being  generally  used  in 
four  parts,  the  radical  Base  is  commonly  omit- 
ted ;  for  the  leading  Note  is  always  sufficiently 
powerful  to  guide  the  ear  to  its  proper  Root. 
In  this  form,  the  two  Chords  have  been  already 
described,  Art.  322,  and  323,  p.  169. 

399.  The  added  Ninth*  of  the  Dominant  is 
really  the  Submediant  of  the  Scale,  or  Sixth 
from  the  ToniG  $  it  is  consequently  Major  in 
the  Major  Mode,  and  Minor  in  the  Minor 
Mode.  Thus,  although  there  is  but  one 
added  Seventh,  there  are  two  added  Ninths, 

400.  The  omission  of  the  Root  forms  a 
Chord  of  the  Seventh  (Art.   322,  p.  169)  on 


the  simplicity  of  Kirnberger's  system  of  Suspension  has 
evinced  its  fallacy,  particularly  in  the  Chords  of  the  Fourth 
and  Ninth.  Marpurg  extended  it  beyond  the  Chord  of  the 
Eleventh  to  that  of  the  Thirteenth  j  but  it  will  not  be  easy  to  find 
examples  to  justify  any  addition  after  the  Ninth. 

*  Mr.  Kallmann  (Essay  on  Harmony,  p.  43)  terms  this 
Ninth  a  Suspension  of  the  original  fundamental  Note.  Such  is 
also  the  System  of  Kirnberger  (p.  19 ;)  but  the  Nomenclature 
is  defective,  since  the  above  Harmony  is  used  generally  with- 
out preparation,  and  in  some  instances  actually  rises  from 
the  Dominant  by  thirds.  See  Handel's  Chorus  in  Israel  in 
Egypt. — "  The  people  shall  hear"  at  the  words,  «*  till  thy  people 
pass  over." — See  also  the  opening  of  Haydn's  celebrated  Overture 
in  D,  composed  for  Bach  and  Abel's  Concerts ;  where,  upon 
?.  Dominant  Pedal  Base,  the  Fourth  is  suspended,  and  the 
Hinth  added, 

T  2 


210  III.    HARMONY. 

the  Leading  Note,  which  may  be  known  from 
the  other  Sevenths  (either  of  the  Sequence  or 
of  Suspension)  by  its  resolution  into  the  Tonic. 
It  may  sometimes  be  prepared,  but  is  generally 
used  without  preparation. 


iiili 


FF=FEE 


~:z=s: 


P 


Prepared.  Unprepared. 


401.  None  of  the  Inversions  of  this  Seventh 
are  employed  in  the  Major  Scale,  but  all  are 
used  in  that  of  the  Minor. 

402.  This  Chord  has  been  considered  as  a 
combination  of  the  Dominant  and  Subdomi- 
nant  Harmonies,  since  it  contains  the  B  and 
D  of  the  former,  and  the  A  and  F  of  the  latter, 
while  the  resolution  of  D  and  F  falls  on  the 
same  Note.* 


*  This  explanation  of  the  Chord  corresponds  with  the  sys- 
tem of  M.  Bemetzrieder,  whose  Calls  (Appels)  are  precisely 
the    four   Sounds   of   this   Harmony.     Lecons   de    Clavecin, 


i 


ea 


CHAP.  HI.     DISCORDS.  21  i 

!-      -rf-S- 


Dominant.  Subdominant.  Union  of  both. 

403.  It  is  observable,  that  the  above  com- 
bination of  Sounds  includes  every  Note  of  the 
Scale,  excepting  the  three  Notes  of  the  Triad 
on  the  Tonic,  and  that  it  also  decides  the 
Mode  of  the  Scale,  since  the  Sixth  or  Subme- 
diant  is  part  of  the  Chord  of  the  Subdominant, 
which  is  Major  or  Minor,  according  to  the  Key 
(Art.  399,  p.  209.) 

404.  The  same  Chord  in  the  Minor, Mode, 
consists  of  three  Minor  Thirds  $*  and  its  ex- 
treme Notes  are  the  sharp  Seventh  and  Minor 
Sixth  of  the  Scale.  It  is  of  such  great  impor- 
tance in  modern  Music,  that  it  is  termed  the  di- 
minished Seventh  (Art.  323,  p.  1 69,)  or  Equiv- 
ocal Chord.     In  the  resolution  of  its  parts,  it 


p.  220,  Paris,  1771.  Translation  by  Bernard,  1778,  (p.  317.) 
The  union  of  these  two  Harmonies,  G  and  F,  is  a  system  far 
more  plausible  than  the  combination  of  D  and  F  in  the  added 
Sixth  (Art.  394,  p.  206.) 

*  Rameau,  p.  100,  terms  this  Harmony  a  borrowed  Chord, 
because  the  Dominant  "lends  her  Fundamental  to  the  sixth 
Note  of  Minor  Keys."  This  explanation  is  very  obscure, 
although  it  is  finally  reducible  to  the  theory  of  Kirnberger, 
(See  Art.  399,  p.  209.) 


212  III.    HARMONY. 

conforms  to  that  of  the  Major  Chord  in  the 
last  Example  (Art.  402,  p.  210.) 


Q?~ie — g —       -ie — b — 

405.  This  Harmony  has  a  great  advantage 
over  the  former  (Art.  402,)  since  it  decides  the 
Key ;  for  the  Harmony  of  B  with  a  Seventh, 
may  be  in  A  Minor  or  in  C  Major. 

7    *  7  7 


iliiSiSliia 


Added  Sixth.  Added  Ninth.        Added  Ninth. 

Radical  Base  D.       Radical  Base  G.    Radical  Base  E. 


But  the  Seventh  of  G  sharp  can  only  be 
found  in  the  Key  of  A  Minor.* 

406.  The  radical  Base  of  this  Chord  may 
be  found  in  extreme  Modulations  by  two 
methods. 

I.  By  the  Major  Third  below  the  last  Sharp. 

II.  By  the  Semitone  below  the  last  Flat. 

*  See  the  Note  Irt  the  preceding  page, 


. 


CHAP.  III.     DISCORDS.  218 

When  Naturals  occur,  the  observations  con- 
cerning them  (Art.  97,  p.  57)  must  be  strictly 
regarded. 

407.  This  Chord  is  not  only  considered  as  a 
direct  Harmony,  but  all  its  three  Inversions 
are  occasionally  employed. 


%e- 


Supposed      First         Second        Third 
Radical.    Inversion.   Inversion.   Inversion. 


408.  In  those  Keys  where  the  Clef  does  not 
agree  with  the  Modulation,  the  second  Inver- 
sion1* requires  a  Flat  or  Natural  under  the 
sharp  Fourth. 


*  The  effect  of  this  Harmony  is  truly  sublime  in  Handel's 
Deborah.  See  the  first  Chorus,  "immortal  Lord/'  at  the 
words,  "  whose  anger,  when  it  awful  glows." 


2*4 


III.    HARMONY. 


1    P    '  77* 


4*- 
b 


6 


4^ 
N      6 


■BBiggpia 


409.  These  two  Chords  of  the  added  Ninth 
have  been  termed  Chords  of  Major  and  of  Mi- 
nor Substitution;*  since  they  are  considered 
as  derived  from  the  Dominant  Seventh,  by 
substituting  the  Ninth  in  the  place  of  the 
Eighth. 

They  are  also  styled  Chords  of  borrowed 
Harmony ;    since  the  Seventh  and  Ninth  are 


*  The  Abbe  Roussier  (Traite  des  Accords,  1764,  p.  158) 
seems  to  employ  the  terms  Substitution  and  borrowed  Harmony 
{Emfirunt)  as  Synonymes.  Neither  term  is  found,  as  an  ar- 
ticle in  the  Dictionary  cf  Rousseau.    (See  H  olden,  p.  100.) 

The  principle  of  Supposition,  from  which  Rameau  has 
deduced  these  Chords,  by  placing  Sounds  below  the  Funda- 
mental,, is  now  (except  in  Pedal  Harmonies)  deservedly  for- 
gotten. 

. 


CHAP.  III.     DISCORDS.  21  $ 

supposed  to  be  derived  or  borrowed  from  the 
Subdominant.* 

410.  All  these  Chords  are  liable  to  have  any 
of  their  Sounds  suspended  on  the  following 
Tonic  Harmony;  and  hence  arise  many  fig- 
ured Bases,  too  numerous  to  be  inserted  within 
the  limits  of  the  present  Work, 


*  Mrs.  Gunn  (Introduction  to  Music,  1803,  p.  207,  209)  has 
given  this  explanation  of  borroiutd  Harmony %  which  differs  from 
the  original  idea  of  Rameau,  although  it  is  not  inapplicable  t© 
.the  combination.    (See  Art.  402,  p.  210.) 


216 
CHAP.  IV. 

OF  CADENCES. 


Art.  411.  A  Cadence*  in  Harmony  consists 
of  two  distinct  Chords  (the  last  of  which  is 
generally  accented,)  and  is  used  to  terminate 
the  Sections  and  Periods  of  Musical  Rhythm. 


SECT.  I— OF  RADICAL  CADENCES. 

412.  When  the  Bases  of  both  Chords  are  the 
Roots  of  their  respective  Triads,  the  Cadence 
is  termed  Radical ;  and,  of  these  radical  Ca- 
dences, there  are  four  in  general  use,  the  Per- 
fect, Imperfect,  False,  and  Mixt  ;f  to  these 
may  be  added  the  Plagal  or  Church  Cadence, 
which  is  only  a  variation  of  the  Imperfect  j 
and  the  Authentic,  which  is  only  the  ancient 
term  for  the  Perfect. 


*  The  term  Cadence  was  formerly  applied  to  the  final  Melody 
of  a  Musical  Close.  See  Morley,  p.  73,  and  Butler,  p.  66.  The 
Germans  adopted  the  Latin  word  Clausula  in  the  same  sense. 
See  Waither's  Lexicon,  1732,  p.  171. 

f  See  the  origin  of  the  Cadences  before  explained,  Art,  310, 
p.  162. 


CHAP.  IV.     CADENCES.  217 

413.  I.  The  Perfect  Cadence*  consists  of 
the  Dominant  Harmony,  followed  by  that  of 
the  Tonic  j  thus, 


EEEjEjE   g 


rzssz: 


In  C  Major.  In  A  Minor. 

The  first  or  leading  Harmony  is  always 
Major. 

414,  II.  The  Imperfect  Cadencef  consists 
of  the  Tonic,  followed  by  the  Dominant  with- 
out its  added  Seventh,  and  is  the  former  Ca« 
dence  reversed. 

*  See  Rameau,  p.  38,  of  the  perfect  Cadence. 

f  This  is  termed  by  Rameau  (p.  43,)  the  irregular  Cadence, 

i  and  he  wishes  extremely  to  have  the  Sixth  added  to  the  lead- 

:  ing  Chord.     This  fancied  improvement  has   been,  with  great 

;  propriety,  rejected  by  subsequent  Theorists.     See  Kirnberger, 

Die  Kunst,  p.  97;  and  Kollmann,  Essay  on  Harmony,  p.  59. 

i  u 


21 S  "HL    HARMOTSlY. 


:zo: 


In  C  Major.  In  A  Minor. 

The  second  or  final  Harmony  is  always 
Major. 

415.  III.  The  False  Cadence*  consists  of 
the  Dominant,  followed  by  the  Submediant  (in 
Diatonic  Gradation)  taken  in  the  place  of  the 
Tonic.  In  the  Major  Mode,  this  Cadence 
forms  the  Interval  of  a  Tone ;  in  the  Minor 
Mode,  only  a  Semitone ;  and  it  is  used  instead 
of  the  perfect  Cadence,  from  which  it  is  de- 
rived. 


el^Ep  |! 


•m 


9F="=iE=  aEJjze 


m 


In  C  Major.  In  A  Minor. 

ii   r  ■■■...■■  ■■!.., .I..H. ■  ■■■ 

*  The  false  or  flying  Cadence  is  placed  by  Hameau  (p.  87) 
among  the  Licenses, 


CHAP.  IV.     CADENCES.  219 

44  6.  IV.  The  Mixf  Cadence*  is  the  Direct 
Gradation  of  the  Subdominant  to  the  Domi- 
nant, and  is  used  instead  of  the  imperfect  Ca- 
dence, from  which  it  is  derived. 


$=a=i=l=  m 


«— —  — tm  ■  i        ili      i i  !■■■ mi.  i 


In  C  Major.  In  A  Minor. 


417.  The  Ptagal  Cadencef  only  differs  from 
the  Imperfect  as  to  its  place  in  the  Scale,  be- 
ing the  progression  of  the  Subdominant  to  the 
Tonic.  This  is  used  as  a  final  Cadence  in 
Church   Music,  particularly   in  the  Hallelujah 


*  Tartini,  p.  102.  Rameau  has  also  mentioned  another 
Cadence,  which  he  terms  interrupted  (interromfiue,)  from  the 
Dominant  to  the  Mediant.  (Code  de  la  Musique,  1760, 
p.  88.)— Of  this  progression  at  a  Rhythmic  Close  there  are 
few,  if  any,  practical  examples. 

f  This  is  the  Cadenza  Ariimetka  of  Tartini,  p.  103.  For  the 
etymology  of  the  terms  Plagal  and  Authentic,  see  Dr.  Burney, 
ii.  13.  See  also  the  Rev.  Mr.  Jones  of  Nayland's  Treatise 
(1784,)  p.  20 ;  and  the  Cadence  he  alludes  to  in  Dr.  B.  ii.  484 


220  HI.    HARMONY. 

Chorus,  Messiah,  ~rd  in  the  Coronation  An- 
them, Zadock  the  Priest. 


e — j — o — 

k        . .  .T5    '    J-        ^ 


:z^c: 


In  C  Major. 


The  final  Chord  of  this  is  always  Major.* 

418.  The  Authentic  Cadence  is  the  same  as 
the  Perfect  (Art.  413,  p.  217,)  and  is  only 
so  termed  in  contradistinction  to  the  Plagal. 
(See  Art.  177,  p.  102.) 


*  Hence  arises  the  necessity  of  varying  the  Third  of  the  last 
Harmony  in  the  Minor  Mode,  and  of  changing  it  to  the  Ma- 
jor Third.  Dr.  B.  iii.  114.  See  also  the  observations  of  Mr. 
Shield,  p.  40.  Formerly  it  was  usual  to  terminate  every  piece 
of  Music  with  the  Major  Third,  whatever  might  be  the  Ca- 
dence.   (See  Padre  Martini,  Saggio  1,  p.  14,  23.) 


CHAP.  IV.  CADENCES.        221 


SECT.  II.— OF  MEDIAL  CADENCES. 

419.  When  the  leading  Harmony  of  any 
Cadence  is  not  radical,  but  inverted,  the  Ca- 
dence is,  in  this  Work,  termed  Medial^  and 
is  used  to  express  an  incomplete  Close. 

420.  I.  Cadence  of  the  Leading  iVbte.— 
This  is  the  first  Inversion  of  the  Dominant, 
and  is  used  instead  of  the  perfect  Cadence.* 


SSi^^S 


i 
6  5  4  6 

5  6    3  2  5 


g=g;=i  lErTT^IiigiJ 


421.  II.  Cadence  of  the  Sharp  Sixth. — 
This  is  the  second  Inversion  of  the  Dominant, 
and  is  sometimes  used  as  a  final  Cadence  on 


*  See  examples  of  all  these  Cadences  in  Handel's  Judas  Mao 
cabsus,  "We  worship  God."    Dr.  A.  No.  42,  p.  144 

U2 


222 


III.    HARMONY. 


the  Tonic,  as  in  Non  Nobis  Domine  ;*  but  more 
generally  on  the  Sixth  of  the  descending 
Scale,  when  it  commonly  bears  a  suspended 
Seventh. 


6     6 


* 


6    7^ 


gps=g=g^gjjili 


422.  III.  Cadence  of  the  Major  or  Minor 
Sixth. — This  is  the  first  Inversion  of  the  mixt 
Cadence,  and  is  chiefly  used  in  the  Minor 
Mode.  It  is  also  liable  to  the  antecedent  Sus- 
pension of  the  Seventh. 


*  Dr.  B.  ii.  305.  iii.  92.    Sir  I I!  lii.  289. 


CHAP,  IV.  CADENCES. 


223 


*e- 


==rB=n=± 


I  I 


:a: 


UpppH 


7  6 


■mnr-ii    run  -— —  r—  — — ^t*-—- -imwi~  trrr_L.fll— Wt  ii   .naumK  —  -1-1-"!!!     ■wwjiuir       j  ■>■ ■   n  — g-M~i«ff  t*fff 


423.  These  Cadences  may  also  become  /n?- 
traded,  by  using  other  Harmonies  on  the  Dom- 
inant. Thus  is  formed  what  Dr.  Pepusch  calls 
the  Grand  Cadence.* 


^a 


=?=? 


r  f ; 


IB 


se; 


5  6  5  B 
3  4  4  3 

:— iqiz::: 


i^ 


424.    To  these  may  be  added  those  decep* 


*  Godfrey  Keller  (1731,  p.  161)  calls  the  5th  and  4th  Cadence, 
common;  the  6th  and  4th  Cadence  bears  its  own  name;  and 
that  given  in  the  Example  above,  is  called  the  Great  Cadence. 
(See  Dr.  Pepusch,  p.  55.) 


224 


HI.    HARMONY. 


the*   Cadences,  which,  by  varying  the  final 
Chord,  avoid  the  final  Close. 


6    5  6    5 

4    3      6  4    3      6 


6    5 

4    3     6 


353 


H 


*  Antoniotto,  p.  9.9= 


225 
CHAP.  V. 

OF  SEQUENCES. 


Art.  425.  Any  similar  succession  of  Chords 
in  the  same  Scale,  ascending  or  descending 
diatonically,  is,   in  this  Work,  termed  a   Se» 

quence.* 

426.  All  Sequences  are  particularly  distin- 
guished by  the  irregularity  of  making  the 
Leading  Note  a  temporary  Root,  to  avoid  Mod- 
ulation out  of  the  original  Scale, 

I.     Of  Dominant  Sequences.- 

427.  The  principal  descending  Sequence  is 
that  of  Sevenths  ;t  an  example  of  which  has 
been  already  given  (Art.  383,  p.  200,)  derived 
from  the  progression  of  rising  Fourths  and 
falling  Fifths  in  the  Dominant  Motion  (Art, 
312,  p.  164.) 


*  The  great  distinction  between  a  Sequence  and  a  Modu- 
lation, consists  in  the  Scale  or  Key  remaining  unaltered  in  the 
Sequence,  and  being  changed  in  the  Modulation.  (See  Art. 
303,  p.  160.) 

f  Dr.  Burney  calls  it  a  chain  of  Sevenths,  ii.  217.  The 
term  Sequence  was  probably  first  employed  by  Pasquali.  It  is 
found  in  Rameau  (p.  10,)  in  the  more  extensive  sense  of  Pro- 
gression, 


226 


III.    HARMONY. 


II.     Of  Mediant  Sequences* 

428.  The  principal  ascending  Sequence  is 
that  known  by  a  5  followed  by  a  6,  on  a  grad- 
ual Progression  of  the  Diatonic  Scale.  It  is 
derived  from  the  Mediant  Progression  (Art.. 
312,  p.  164.) 

In  this,  and  the  following  Examples,  the 
Directs  shew  the  Radical  Base. 


g^i^ 


— — e- 

5  6 


5  6 


5  6 


^^^E^^|ESiE|^!ij 


5  6 


._J___e'e<sL  __? 


-Eg-|-g-g-|E-g--_|_-gEfl 


£1 


5  6 

:__e:z 


5  6 


5  6 


W— t— 


g£-3=_-_=j_^ 


CHAP.V.     SEQUENCES.  227 

This  Sequence,  like  that  of  Sevenths,  ad- 
mits of  the  Leading  Note,*  as  a  temporary 
Root  ;t  and  it  seems  to  have  been  for  the  sake 
of  elucidating  these  passages,  that  Kirnberger 
and  Kollmann  have  admitted  the  diminished 
Triad  among  the  consonant  Harmonies. 


jIIL     Of  Inverted  Sequences. 

429.  The  principal  inverted  Sequences  are 
those  derived  from  the  Sequence  of  Sevenths  ;f 
and  of  these,  the  most  usual  is  that  of  a  7, 
followed  by  a  6  on  the  gradual  descending  Pro- 
gression of  the  Scale. 

*  Art.  255,  p.  137. 

f  Nothing  but  the  rhythmical  arrangement  of  the  passage, 
which  divides  every  Semibreve  into  two  Roots,  permits  this 
departure  from  the  first  principles  of  Harmony,  viz.  that 
every  radical  Base  must  bear  a  perfect  Fifth  (Art.  291,  p.  152,) 
and  that  all  Melodies  belong  to  the  three  Chords  of  the  Key 
(Art.  305,  p.  160.)  These  two  Rules  are  liable  to  no  excep- 
tions, except  what  arise  from  the  nature  of  the  Sequences  and 
the  Licenses.  Dr.  Boyce,  in  his  Air  of  "  Softly  rise,"  has  used 
this  Sequence  with  great  effect.    Shield,  p.  74. 

%  This  may  also  be  considered  as  a  simple  Sequence  of 
Sixths,  with  Suspensions  of  the  Sevenths ;  and,  in  like  man- 
ner, the  ascending  Sequence  of  Fifth  and  Sixth  may  be  ex- 
plained by  Anticipation.  (See  Art.  378,  p.  198.)  In  Mr. 
tvollmann's  Essay,  p,  49,  the  Sequences  are  thus  explained* 


228 


IE.    HARMONY 


m 


A*L<M-^L_«L_d 


— e 


Sfc 


e 


5  6 


7  6 


:S: ^ cu 


7  6  7  6 

e — T — 


^Hi^illlsl 


§eeee 


drrrgrirgr==t:ir-j:~dzi=-= 


iH 


±i=dfc=§==±==n== 


■©■ 


7  6 


7  6 


7  6 


!==ll=iIiilliyB 

-A^"  -TCB«-  


430.  It  is  not  unusual,  in  the  first  Inversion 
of  the  Sequence  of  Sevenths  (that  of  the  Fifth 
and  Sixth,)  to  leave  every  other  Harmony  as  a 
simple  Triad,  in  the  following  manner : 


CHAP.  V.     SEQUENCES. 


229 


-e- 


w- 


TMX\rr:\\>$ 


~^~  -^- 


IV.     Of  Simple  Sequences. 

431.  A  descending  Scale  may  also  be  ac- 
companied by  a  simple  Sequence  of  Sixths 
alone.  The  Theory  of  this  Progression  is  in- 
volved in  some  difficulty  ;*  but  the  uniform 
Practice  of  Authors,  both  ancient  and  modern5 
has  established  its  use. 


*  Rameau  observes  of  this  Sequence  (p.  90,)  that  Zarlino 
expressly  forbids  it  (Istitu.  Harmoniche,  edit.  1573,  p.  291 ;) 
but  its  high  antiquity,  and  its  great  effect  in  Modern  Music, 
render  it  classical,  notwithstanding  the  defect  of  the  false  Har- 
mony on  D,  derived  from  the  imperfect  Triad  of  B  (Art.  287, 
p.  149.)    See  Dr.  B.  ii.  76.    Lampe,  p.  39.    Shield,  p;  66,  dec. 


W 


230 


HI.    HARMOftY. 


P-if-a — S-T1^ — i-±~o:_ 


-i — 


£^±=grn£±Si3 


(  ! 


6      6 


S^liipi^a 


132.  The  same  series  may  take  place  ascend- 
ing ;  and  the  effect  is  nearly  that  of  the  Me- 
dial Sequence  of  5  and  6,  as  the  preceding 
series  of  the  descending  Scale  resembles  the 
inverted  Sequence  of  7  and  6. 


ililllllllilli 


CHAB.  V.     SEQUENCES.  23 % 


V.     Of  Compound  Sequences. 

433.  Compound  Sequences  are  those  which 
by  employing  the  Chords  of  Suspension,  change 
their  Harmonies  on  the  alternate  Base.  Of 
these  there  are  various  kinds  :  one  of  the  prin- 
cipal is  that  of  descending  Thirds  with  alter*- 
nate  Ninths  \f  thus. 


s-g=rg=±i:d=ii:3zrti:=l==;:i=q=ri= 


— — -rt— T"Z1 --r— 1— — 1— i*1"*"1 1-T— "1"- — ~r"~    ,"~"".""Ti"B; 


t?rww?m 


i=l#lifilEg£pgp 


93      93      93      93       93 


434.  These  Sequences  also  may  be  doubly 
compounded,  and  then  bear  double  Suspen- 
sions. 

*  Shield,  p.  30. 


232 


HI.    HARMONY. 


£E5Efe£E 


=g±§£p^p=j 


m 


M* 


H-  -M — h- 


1 


a^l^ffifj^fl 


9    5 
4     S 


9    5 
4    3 


9   5 

7   3 


9  5 
7  3 


435.  To  these  may  be  added  the  partial  Se- 
quences of  two  similar  Harmonies,  frequently 
found  in  Handel,  &c.  ;  thus, 


1 

I 


ZPCHP 
t       I 

6     6 
5     5 


4    4 
2    2 


mmmmMm 


CHAP.  V.     SEQUENCES. 


233 


VI.     Of  Irregular  Sequences* 

436.    It  is  not  unusual  to  find  an  ascending 

Scale  accompanied  with  7  and  6,  with  9  and  8, 

9  8 

or  with  their  Compounds  ^  and  6  which  form 

irregular  Sequences.*      These   Chords   belong 
regularly  to  a  descending  Series. 


7  6       7  6 


SEEE 


eeieIeeeee; 


i  n  j  T3 

-^ a~r-*-j-«-«'*-g- 


9  8       9  8 


e=EE 


EtiE^EE 


*  Lampe,  p.  37,  gives  an  example  of  these  Sequences,  in 
which,  by  the  contrary  motion,  the  necessity  of  dividing  the 
last  Harmony  is  avoided. 

W  2 


23£  HI.    HARMONY. 

In  these  Sequences,  the  unaccented  Harmony- 
must  be  divided  in  half,  after  the  Resolution  of 
the  Discord,  to  prepare  the  following  one,  as  in 
the  antecedent  Example ;  the  7th  is  then  pre- 
pared by  the  8th,  and  the  9th  by  the  10th.* 


*  That  the  present  Classification  cannot  comprehend  all  the 
Sequences  which  have  been  or  can  be  invented,  is  sufficiently 
obvious.    (See  Shield,  p.  10,  &c.  &c.) 


. 


235 
CHAP.  VL 

OF  LICENSES, 
SECT.  I.— OF  PEDAL  HARMONIES. 

Art.  437.  When  the  Dominant  Harmony  Is 
taken  unprepared  upon  the  Tonic  Base  as  a 
holding  Note,  whether  preceded  by  the  Tonic 
or  by  the  Subdominant  Harmony,  the  passage 
is  termed  a  Tonic  Pedal  Note  or  Organ  Point. 


P^##PpP 


8  7  8 

5  4  5  6  7  8  7  8 

3  23  4  2  3  4  3 


m 


n:|:=a=3[zzi5:=:  -=s:z:::  ::=s:= J  J 


7 
In  the  Chord  of  4  the  Dominant  Note  itself 

is  generally  omitted,  for  reasons  before  given 
(Art.  327,  p.  172  j)  and  the  Chord  appears 
(independent  of  the  holding  Base)  like  that  of 
the  sharp  Sixth  on  the  Supertonic, 


236  HI.    HARMONY. 

438.  When  also  any  Chords,  or  Sequences^ 
are  taken  upon  the  Dominant  Base,  as  a  hold- 
ing Note,  a  similar  passage  is  formed ;  and  the 
Base  then  also  becomes  a  Dominant  Pedal  Note 
or  Organ  Point. 

439.  Not  only  the  simple  Dominant,  but  its 
compound  derivative,  the  added  Ninth  (Art. 
397,  p.  208,)  may  be  taken  on  a  Tonic  Pedal. 
Hence  arises  the  Chord  of  the  Sixth  and  Sev* 
enth,  or  the  Thirteenth  of  Marpurg.*  This  is 
used  in  the  Minor  Mode  on  the  Tonic,  and 
sometimes,,-  by  extreme  License,  on  the  Domi- 
nant. 


izzzd: 


W-J~M~x~r$r^, 


m 


nnfiim 


8  *7  8  8  $§7 

5     6  5  5     6 

3     4  3  *     4f 


*  Marpurg's  arrangement  of  Chords,  into  the  Consonant 
Triads,  Dissonant  Triads,  and  Sevenths,  in  the  first  class,  and 
into  the  Ninth,  Eleventh,  and  Thirteenth,  in  the  second  class, 
is  clearly  explained  by  Turk  (General  Base,  1791,)  p.  S8, 10Q< 


CHAP.  VI.     LICENSES. 


231 


440.  Not  only  these,  but  any  other  Chords, 
whether  of  Suspension,  Sequence,  &c.  &c. 
may  be  taken  on  the  Tonic,  or  the  Dominant, 
as  a  Pedal  Base  ;  and  some  instances  occur,  in 
which  these  Sounds  may  be  retained  in  a  supe- 
rior part,  as  in  the  following  Example  from 
Mozart,  Op.  II, 


g3M«p,r 


SECT.  II— OF  THE  EXTREME  SHARP  SIXTH. 

441.  When,  upon  the  first  inversion  of  the 
mixt  Cadence  (Art.  422,  p.  222,)  the  Sixth  of 
the  Submediant  (or  Fourth  of  the  Scale)  is  ac- 
cidentally sharpened,  the  Chord  of  the  extreme 
sharp  Sixth*  is  formed. 


*  See  Art.  297,  p.  155.  Rousseau  asserts,  that  this  Har- 
mony is  never  inverted.  Framery  (Art.  Accord,)  has  shewn, 
from  a  Passione  of  Paisiello,  that  its  inversion  may  be  used; 
and  we  have  an  example  in  Weldon's  Anthem,  "Hear  my  cry- 
ing."   Dr.  Boyce,  Cath.  Music,  ii.  218. 


238 


III.    HARMONY 


This  Harmony,  when  accompanied  simply 
by  the  Third,  has  been  termed  the  Italian 
Sixth. 


1- t- 


Seepe11ie§ 


s 


m 


i 


Root  B. 


By  this  alteration  of  the  Fourth,  the  Species 
of  Cadence  is  changed,  from  the  first  Inversion 
of  the  Mixt  to  the  second  Inversion  of  the 
Perfect  (Art.  421,  p.  221  ;)  and  it  is  consid- 
ered as  a  License,  because  the  Root  bears  a 
flat  Fifth,  while  at  the  same  time  the  Third 
continues  Major. 

The  radical  Base,  therefore,  of  the  extreme 
sharp  Sixth,  is  the  Supertonic  of  the  Key  \  and 
its  Fifth  is  allowed  to  be  defective,  that  the  orig- 
inal Minor  Mode  may  not  be  totally  destroyed. 

442.  When  to  the  simple  combination  of 
the  Italian  Sixth  the  Root  itself  is  annexed,  a 
Chord  of  Third*  fourth,  and  Sixth  is  formed ; 
and,  as  this  Harmony  is   only  found  in  the 


CHArYVI.     LICENSES. 


239 


Theory  of  Rameau,  it  may  be  properly  termed 

the  French  Sixth, 


^EEB 


Hi 


Rcot  B. 


443.  A  Harmony  still  more  remote,  but  ex- 
tremely powerful,  is  formed  upon  this  Chords 
by  inserting  the  added  Ninth  on  the  Root,  as  a 
supposed  Dominant  to  the  real  one. 

This  occurs  with  great  effect  in  the  writings 
of  Graun,  &c*  and  therefore  may  be  called 
the  German  Sixth, 


*  See  the  example  in  Shield,  p.  36.  The  Music  of  France, 
Italy,  and  Germany,  cannot  be  illustrated  in  a  smaller  com- 
pass than  by  the  use  of  these  three  Chords.  The  feebleness 
of  the  French  Sixth,  compared  with  the  elegance  of  the  Ital- 
ian, and  the  strength  of  the  German,  leaves  no  doubt  of  their 
superior  excellence.  The  admirable  genius  of  Graun  knew 
Hvfteh  to  employ  Italian  sweetness,  and  when  to  change  it  fbr 
German  force. 


240 


HI.    HARMONY. 


£=fg^sl 


fe  6    5 

5  4    % 


Root  B. 


•It  requires,  however,  a  continuation  of  its 
Third  and  Fifth  on  the  Dominant  Base  (as  a 
new  Fourth  and  Sixth,)  to  prevent  the  consecu- 
tive Fifths. 


SECT.  Ill— OF  PARTIAL  MODULATION. 


444.  Whenever  the  Dominant  and  Tonic  of 
a  new  Key  are  employed  without  the  Subdomi- 
nant  Harmony,  such  change  constitutes  a  par- 
tial Modulation. 

445.  One  change  of  this  kind  arises  when 
the  Seventh  of  the  Major  Mode  is  flattened,  and 
the  Modulation  returns  again  through  the 
Leading  Note  to  the  Tonic  ;  thus, 


CHAP.  VI.     LICENSES.  241 


^^p^pl 


8    7b       3  4*-       6 


rr 

6    5 
4     3 


B: 


-e- 


il&H 


446*   Another  change  towards  the  Dominant 
is  also  frequently  used  5  thus, 


i 


1       1        1       j 

i*-TzJ— •J-T^— d~T-d— -^I-S  - 

=fcS=Sr  =ipC^=;  i^zzf ztzSz: 
!=z±xpzzgzi-|zzzpzizprzt=izzz: 


-e- 


jfefeFf=1FFf=P= 


4f     6        i 


nna 


Many  other  changes  occur,  to  the  relative 
Minor  (or  Submediant,)  to  the  Mediant,  to  the 
Supertonic,  &c.  some  of  which  are  peculiar  to 
the  Music  of  the  last  forty  years. 


242  III.  HARMONY. 


SECT.  IV— OF  THE  RULE  OF  THE  OCTAVE. 

447.  It  may  appear  singular  to  class  this 
celebrated  Progression  among  Musical  Li- 
censes ;*  but,  as  the  descending  Scale  equally 
includes  a  partial  Modulation,  and  rejects 
the  original  Subdominant  Harmony,  so  essen- 
tial to  the  constituent  parts  of  the  Key  (Art. 
305,  p.  160,)  the  propriety  of  the  classifica- 
tion appears  obvious  to  the  Author  of  this 
Work. 

448.  When  a  Diatonic  Scale  in  the  Base  is 
accompanied  with  Harmony  according  to  this 
Rule,  the  Roots,  and  their  Inversions,!  are  thus 
intermixed : 


*  Rousseau  ascribes  the  invention  of  this  Rule  to  de  Laire, 
1710.    See  his  Art.  Regie  del  Octave. 

f  In  the  Minor  Mode,  when  the  accidental   Scale  is  em 
ployed,  the  Sixth  must  be  sharpened. 


n. "~ 

CHAP.  VI.     LICENSES 
Ascending  Scale. 

§r 

— 5~-§— 

O        C*        rt  -■■   ° 

-©   «-q_ 

r*\     p o-    . 

ynZ 

§ — ®CF 

g                    °    „    Q.     «0      -< 

W** 

6 
4 
3 

e    a     e    -e- 

6 
6      5              6 

6 

,5 

'.V 

n      O-  ,°  , 

£til 

'i_ti»  ■■  ri" 

n     u 

e>     o 

7 

Radical  Base.* 

7 

>"V" 

\J:  " 

o  .  , 

....  „..o 

243 


449.  The  descending  Scale  makes  a  partial 
Modulation  into  the  Dominant,  like  that  given 
in  Art.  446,  p.  241, 

Descending  Scale. 

=zS=iz:eaE:i=i=oz:Izz=Q^ 


s 


•© — -e— 5gFn— e— e— e— ©rs — ' 


.-jrxDzszrgnszss: 


^ :;§: q. q , 

m-z=z~EEE± 


6      £  4      6      6 

4  2  4 

3  3 

alzizzzz: — « — zzzzzzzzzz 


-a e — e e 


7  7 


*  The  Directs  placed  over  F,  on  the  Supertonic,  shew  tin 


244  HI.    HARMONY. 

450.  In  the  Minor  Mode,  the  Inversion  of 
the  mixt  Cadence  takes  place,  which,  in  modern 
Music,  is  generally  varied  by  the  Italian  Sixth* 

The  Directs  mark  the  Roots  of  the  Chords. 

5=5=6=°= 


__^_Q 


Er°rSEiEieEEEJ 

-&e-f --g-*o  j 


6      6      »  6      6      m 


Trf —»t- 


=E=°=g==l- 

4"   ,jq/";-         wl~ — n; 


-*\£-  -aV^  -W-  -a\£«- 

The  remainder  of  the  Scale  coincides  with 
that  of  the  Major  Mode. 

451.  Although  this  Scale  is  given  in  the 
above  form  by  most  of  the  Theoretical  Writ 
ters,  yet,  iiv  practical  Music,  such  is  the  prev- 
alence of  partial  Modulations,  varied  Se- 
quences, &c.  that  the  Rule  is  not  often  found 
complete.* 


fundamental  Bases  of  the  French  Theorists.  The  Hyperdia- 
tonic  Cadence  of  Mercadier  de  Belesta,  p.  27,  coincides  with* 
the  under  Notes. 

*  See  a  striking  instance  in  the  Scales  of  Emanuel  Bach, 
given  by  Mr.  Shield,  r>.  82.  Gemkiiani  also  (Art  of  Accomp. 
Op.  11)  very  strongly  objects  to  these  Rules,  because  "  they 
are  uncertain  and  precarious."  The  Example  before  adduced 
(Art.  363,  p.  189,)  shews  that  the  descending  Scale  may  be 
extremely  varied,  and  that  it  may  employ  an.  Inversion  of  the 
Subdominant  Harmony  with  great  eftect 


CHAP.  VI.     LICENSES, 


24r5 


SECT.  V.— OF  CHROMATIC  MODULATION. 

452.  When  the  Chromatic  Semitones  are  in- 
troduced between  the  Notes  of  the  Diatonic 
Scale,  Chromatic  Modulation  is  formed,  in 
which  the  Key  is  continually,  although  par- 
tially, changing. 

453.  As  the  Diatonic  Sequence  of  Sevenths 
is  used  to  avoid  Modulation,  so  a  Chromatic 
Sequence  of  Sevenths  consists  of  Dominants 
alone,  and  the  Scale  changes  at  every  Chord  \ 
thus, 


:=zz*|z=:i?=z^d— :^d==g: 
I \        r      r      P     y 

fci7      fcj7      fc?7      N7 
%        %        %        *      tf 


s=s^p 


This  Sequence  forms  a  descending  Chromatic 
Scale. 

X  2 


246  III    HARMONY, 

454.  In  a  similar  manner  may  be  formed  an 
ascending  Chromatic  Sequence,  derived  from 
that  of  5  and  6 ;  thus, 


j^^=^y 


fEJ=5Ei=i^l^ 


* 


— e— i 


This^  also  makes  a  partial  change  at  every 
Other  Harmony. 

455..  In  Modern  Music,  a  species  of  Chro- 
matic Transition*  is  employed,  in  which  the 
Semitones  occur,  not  as  parts  of  the  radical 
Harmony,  but  as  Appoggiaturas,  After-notes, 
or  Acciaecaturas.* 

456.  The  following  Examples,  from  the 
celebrated  Opera  of  Mosart,  the  Zauberflote, 
are  instances  of  Chromatic  Appoggiaturas. 


*  Geminiani  (Treatise  on  Good  Taste,  1749,  p.  4,)  asserts, 
that  the  Actiaccature  had  been  then  in  use  above  an  Hundred 
years. 


CHAP.  VI.     LICENSES. 
("  Wie  stark  ist  nicht.") 


247 


mm^&i&m 


("  Schnelle  Fusse,") 


ilpip^pi^pl 


457.  The  Acciaccatura  or  Half  Beat,  is  also 
used  with  great  effect  in  a  Terzett,  from  the 
same  piece.* 

("  Seyd  uns  zum  zweytenmal") 


SECT.  VI.— OF  ENHARMONIC  MODULATION. 

458.  The  last  and  most  difficult  branch  of 
Harmony,  is  that  which  arises  from  the  sud- 
den change  of  Key  made  by  the  Enharmonic 
Diesis  (Art.  214,  p.  119.) 

459.  When  any  one  of  the  Sounds  of  the 
equivocal  Chord  (Art.  323,  p.  169)  is  called  by 


*  The  Half  Beat  may  also,  in  some  few  instances,  be  found 
on  the  Semitone  above*  taken  as  a  Flat.  See  Clementi,  Op.  % 
Sonata  Ima,.  first  Movement. 


248  III    HARMONY. 

a  new  name,  and  placed  on  a  new  Degree,* 
the  Root,  Scale,  and  Signature,  all  change  at 
once. 


S=w*= 


|fe§^E 


W-- 


Root  E,  Key  A  Minor.  Root  G,  Key  C  Minor. 

460.  As  this  Harmonyt  consists  of  four 
Sounds,  each  of  which  may  be  altered  by  the 
Diesis,  the  two  following  Modulations  arise 
from  the  same  Chord. 


§SgE§=E^f 


w — ~cr*  — x&q-^' 


Root  B  flat,  Key  E  flat  Minor.    Root  C  sharp,  Key  F  sharp  Minor. 


*  Although  the  temperament  of  Keyed  Instruments  autho- 
rizes the  expressions  here  used,  yet  it  must  be  understood 
that,  in  other  Instruments,  the  difference  between  G  sharp 
and  A  flat  can  be  made,  and  is  in  theory  always  to  be  con- 
sidered as  a  real  Interval. 

-j-  The  Harmony  of  the  extreme  fiat  Seventh  has  attracted 
the  notice  of  all  the  Theorists  who  have  written  on  the  sub- 
ject of  Chords  in  Modern  times ;  and  its  complete  discussion 
would  fill  an  ample  treatise.  The  well  known  Air  by  Handel, 
in  Samson,  "  Return,  O  God  of  hosts ;"  the  "  Alma  del  gran 
Pompeo,"  in  Giulio  Cesare  (see  Dr.  Burney,  Commemoration 
of  Handel,  p.  63;)  "Vouchsafe,  O  Lord,"  in  the  Dettingen 
,  Te  Deum,  &c.  &c.  are  all  passages  which  might  justify  a  par- 
ticular Analysis,  and  which  the  Author  hopes,  on  a  future  occa- 
sion^ to  lay  before  the  public.    (See  also  Shield,  p.  83.) 


CH AP.  VI.     LICENSES. 


249 


461.  As  the  Chromatic  Octave  upon  Keyed 
Instruments  consists  of  twelve  different  Sounds 
(exclusive  of  the  Diatonic.  Eighth  or  Replicate 
of  the  first,)  there  are  but  three  different 
Chords,  in  respect  of  the  Keys  themselves,  on 
the  Key-board.  These,  in  their  simplest  forms, 
are  the  added  Ninths  of  D,  A,  and  E,  Domi- 
nants of  their  respective  Minors. 


PSl 


lg§pl 


Each  of  these  Chords,  by  the  use  of  the 
Diesis,  may  change  into  three  other  Harmo- 
nies ;  and  thus  an  immediate  step  to  any  one 
©f  the  twelve  Minor  Modes  may  be  gained.* 

462.  These  Chords  may  also,  under  certain 
limitations,  succeed  each  other  chromatically^ 
descending  or  ascending* 


RootB 


RootE 
(Descending.) 


*  Mr.  Corfe,  of-  Salisbury,  in  his  Thorough  Base  simplified^ 
a  work  lately  published,  has  given  (p.  43,  &c.)  a  Table  of  these- 
Chords^  as  used  in  the  twelve  Minor  Keys,  &c, 


250 


III.    HARMONY. 


Part  of  the  ascending  Series  is  the  same  in- 
verted, as  before  given,  Art*  461,  p*  249. 

463.  The  last  and  most  unusual  species  of 
Enharmonic  Modulation  j*  is  that  which  changes 
the  Dominant  Seventh  into  the  German  Sixth.f 
A  remarkable  instance  occurs  in  Handel's  Solo- 
mon, at  the  Chorus,  Draw  the  tear  from  hopeless 
love  ;  thus, 


±==§=i=ra— irggr 


m 


**: 


wsi 


mm 


k      5 


b7 


6  5 
4  * 


ii=i=y=y=^=i=i 


b7 

3±EEE: 


Radical  Base.     7 

b  bl       * 


£= 


1 


to  express  the  words,  /z///  of  (&#/£  and  wild 
despair*- 


*  Rousseau,  Art.  Enharmonique^  does  not  mention  this  Modu- 
lation ;  although  it  is  extremely  worthy  of  notice,  being  formed 
upon  a  Chord  so  apparently  perfect  as  the  Dominant  Seventh* 

.  t.  Art.  443,  p.  259, 


END   OF   THE    THIRD   PART. 


251 

PART    IV. 

RHYTHM. 


CHAP.  I. 

OF  ACCENT. 
SECT.  I.-*OF  SIMPLE  MEASURES. 

Art.  464.  The  disposition  of  Melody  or 
Harmony,  in  respect  of  Time  or  Measure,  is 
termed  Rhythm.* 

465.  Those  branches  of  Rhythm  which  are 
necessary  to  be  considered  in  the  present 
Work,  are, 


1 .  Accent. 

2.  The  Musical  Foot. 

3.  The  Musical  en- 

sure. 


4.  The  Phrase. 

5.  The  Section. 

6.  The  Period. 


466.  Accent  has  been  already  described 
(Art.  80,  p.  41)  as  part  of  Notation  ;  but  it 
must  be  now  examined  more  accurately,  since 


*  Dr.  B.  i.  71.    Sir  J.  H.  ii.  11.    Malcolm,  p.  385.    Holder, 
p*  25. 


252 


IV.    RHYTHM. 


upon  this  peculiar  arrangement  of  Sound,  all 
Rhythm  depends. 

467.  The  necessity  of  dividing  the  Notes 
of  Music  into  equal  portions  of  Time,  called 
Measures  (Art.  65,  p.  28,)  may  be  shewn,  by 
considering  the  subsequent  series  of  Notes.* 


^Ey=s=y 


468.  The  above  cannot  be  performed,  as 
Melody,  without  making  certain  points  of  di- 
vision, on  which  a  pressure  must  be  laid.  It 
may,  for  instance,  be  accented  two  ways  in 
equal  Time ;  thus, 


Trochaic  Rhythm. 


I^si 


Or  thus, 


Iambic  Rhythm* 


^BBP 


*  Kocli,  Art.  Tact. 


CHAP.  I.     ACCENT. 


I.    Dactylic  Rhythm. 

—        OO  •— •         O         O  —        O         O 


*miHtf*mm 


H.    Anapaestic  Rhythm. 

o      o      —       o       o      —        o      o      — 


izFffirrnrrPa 


III.    Amphibrachic  Rhythm. 

o     —      o        o     •—      o        o     —      o 


3 


46§.  These  passages  are  also  distinguished 
by  the  different  Harmonies  they  bear  in  each 
variation  of  Rhythm. 


I.    Dactylic. 

o      o      —      o      o  —        o     o 


II.    Anapaestic. 

O         O       —         OO—         oo-^- 


giipiiiiiiii 


III.    Amphibrachic. 

O        —        O  O       — -        O  O        —        O 


m 


^nmii§iiiii 


254 


IV.    RHYTHM. 


470.  The  simple  Measures  of  equal  Time 
consist  of  two  Parts,  and  are  subdivided  into 
four  Times  :  the  Parts  are  Minims  in  com- 
mon Time,  and  Crotchets  in  two  Crotchet 
Time ;  and  the  Times  are  Crotchets  in  com- 
mon Time,  and  Quavers  in  two  Crotchet 
Time.* 


ffiffl 


£S=fE 


xxm:t\H\u 


4*7 1 .  The  simple  Measures  of  unequal  Time5 
also  consist  of  two  Parts,  one  double  the  length 
of  the  other ;  but  the  Times  are  only  three  : 
hence  arises  a  varied  expression,  according  to 
the  value  of  the  Notes  in  quantity. 


iiE=g^IHigi 


*  Koch  terms  a  Part,  Tacttfteil,  and  a  Time,  Tactglieder. 


CHAP.  I.     ACCENT, 


47 2„  In  the  further  division  of  simple  Meas- 
ure, the  Accents  are  known  by  the  Groups, 
which  are  regulated  by  the  Times  of  the  Meas- 
ure, as  before  noticed  (Art.  80,  p.  41  ;)    thus5 


473.    In  Triple  Measure,  the  same  arrange- 
ment of  Groups  is  in  general  use  ;  thus, 

H.  S.  vol.  ii.  No.  92 :   "  Daughter  of  Gods"— 
Hercules.* 


A  thousand  pleasures    reign    ------ 

474.  These  inferior  Accents,  which  belong 
to  the  Times  of  the  Measure,  do  not,  by  any 
means,  destroy  that  great  and  predominant 
Accent  that  belongs  to  the  first  Note  which 
follows  the  Bar,  and  which  is  accompanied  by 
the  Thesis^  or  depression  of  the  hand  in 
beating  Time.  The  Arsis,\  or  elevation  of 
the  hand,  always  follows  on  the  weak  part  of 
the  Measure.     (See  Art.  81,  p.  42.) 


*  Dr.  A.  No.  35,  p.  60. 

f  The  JYiederschlag  of  the  Germans. 

X  The  Aufechlag  of  the  Germans. 


256  IV.    RHYTHM. 

SECT.  II— OF  COMPOUND  MEASURES. 

475.  The  Accents  of  compound  Measures  are 
exactly  similar  to  those  of  simple  Measures, 
which  are  only  their  halves,  and  which  differ 
chiefly  in  their  Notation,  and  their  appear- 
ance to  the  eye. 


impi 


476.  The  Germans  and  also  the  French,* 
consider  the  Measure  of  four  Crotchets  as  a 
species  different,  not  only  from  that  of  three, 
but  even  from  that  of  two  Crotchets  (Art. 
67,  p.  29 ;)  a  distinction  which  arises  from  the 
nature  of  Accent,  and  which  is  thought  of 
importance  by  those  Authors.  It  is  considered 
by  somef  of  them  as  a  simple  Measure  ;  but 
it  really  seems  merely  to  differ  from  that  of 
two  Crotchets,  by  the  omission  of  the  alternate 
Bar. 

*  Principes  de  Musique  du  Conservatoire,  p.  40, 
-;  Kollmann,  Essay  on  Harmony,  p.  73. 


CHAP.  I.     ACCENT. 


2S1 


477.  In  compound  Time,  the  difference  be- 
tween six  Crotchet  and  three  Minim  Measure, 
or  between  six  Quaver  and  three  Crotchet 
Measure  (both  of  which  contain  an  equal  por- 
tion of  Time  between  the  Bars,)  is  only  known 
by  the  Accent.  The  Groups,  indeed,  regulate 
the  Accent  to  the  eye,  and  shew  the  compound 
Time  of  six  Quaver  Measure  by  their  equal 
division, 

478.  Thus,  in  the  Example  before-men- 
tioned (Art.  81,  p.  42,)  the  simple  Measure 
contains  the  Quavers  grouped  by  Sixes,  which 
have  one  strong  Accent  on  the  first,  and  two 
inferior  ones  on  the  third  and  fifth  Notes  j  thus, 


Swswsw     Swswsw    Swsws    w 


479.    In  compound  Time,  the  Accents  are 
as  under : 


Iff  S.w.f      S  w  w  S  w  w     S  w  w  S  w  w 


480.  The  compound  Triples  of  nine  Crotch- 
ets, or  nine  Quavers,  take  their  Accents  from 
the  simple  Measures,  as  before,  Art,  76,  p.  3G. 

Y2 


258  IV.    RHYTHM. 


SECT.   III.— OF  MIXED    MEASURES. 

481.  The  mixt  Measures  before  described 
(Art.  78,  p.  38,)  take  their  Accents  from  their 
Measure-notes  ;  and  the  Groups  decide  the  al- 
teration made  in  the  Time  marked  at  the  Clef. 

482.  Thus,  in  the  Air,  "  Whither  my  love" 
(La  Rachellina  of  Paisiello,)  although  the  Mel- 
ody  is  written  in  two  Crotchets,  the  Accom- 
paniment is  in  six  Quavers  j*  thus. 


483.  If,  however,  any  variation  in  the  subor- 
dinate parts  of  these  mixed  Measures  should 
be  requisite,  they  must  be  changed  to  their 

2      .  6 

relative    Compounds  ;   thus,  -  will  become  - 

4  8, 

-  will  become  -;  and  common  Time  will  be- 
4  8 

12 

come     _ 

8. 


'*  There  is  some  doubt  whether  this  Melody  should  be 
played  as  written,  or  as  if.  it  were  compound  ;  that  is,  one 
dotted  Crotchet,  one  Crotchet,  and  one  Quaver,  in  the  first 

Measure. 


CHAP.  I.     ACCENT. 


259 


484.  The  following  passages  from  Koch, 
will  shew  the  necessity  of  using  the  compound, 
instead  of  the  mixt  Measure,  in  two  Crotchet 
Time. 


485.  The  same  variation  takes  place  when 
the  compound  is  taken,  instead  of  the  mixt,  in 
three  Crotchet  Time,. 


486.  In  a  similar  manner,  Handel  uses  the 
compound  twelve  Quavers  for  the  Accompa- 
niment of  "  Mirth  admit  me  of  thy  crew"  in 
G*  (L'AIlegro,)  while  the  vocal  part,  and  the 
Base,  are  written  in, simple  common  Time. 


*  H.  S.  i.  No.  59.    Dr.  A.  No.  150.  p..  26. 


260  IV.    RHYTHM. 


SECT.  IV.-OF  EMPHASIS. 


487.  The  particular  sense  in  which  the  term 
Emphasis  is  employed  in  the  present  Work, 
has  been  explained  (Art.  83,  p.  43,)  with  ap* 
propriate  Examples. 

488.  The  Emphasis  is  distinguished  from 
the  Accent  (as  before  observed)  by  its  occur- 
ring on  the  weak  parts  of  the  Measure ;  by 
the  different  grouping  of  the  Quavers,  Semi- 
quavers,  &c.  \  and  by  the  emphatic  marks 
of  Rf9  &c.  (Art.  142,  p.  82,)  placed  over  the 
Notes. 

489.  In  performing  on  the  Piano  Forte,  a 
great  difference  seems  to  exist  between  them ; 
since  Accent  always  requires  pressure  imme- 
diately after  the  Note  is  struck,  and  Emphasis 
requires  force  at  the  very  time  of  striking  the 
Note.  Thus,  Accent  may  be  used  in  the  most 
Piano  passages ;  but  Emphasis  always  sup- 
poses a  certain  degree  of  Forte. 

490.  To  the  same  species  of  effect  which 
is  derived  from  Emphasis,  may  be  referred 
the  Tempo  d'Imbroglio  (della  Confusione)  of 
modern  Music,  in  which  the  Music,  although 
written  in  one  kind  of  Measure,  is  really  per- 
formed in  another. 


CHAP.  L     ACCENT.  261 

491.  Among  the  simplest  instances  of  this 
nature,  is  that  change  of  Time  used  by  Corelli, 
Handel,  &c.  &c.  which  forms  one  single  Measure 
of  three  Minims,  from  two  Measures  of  three 
Crotchets  each,  as  in  the  following  Example 
from  the  Passione  of  Graun  : 


f  -fVi'  "r  r^"  T  f  y 


492.  A  more  singular  Example  may  be 
found  in  the  final  Chorus  of  the  Pilgrim,  by 
Hasse  -,*  in  which  the  Time,  though  apparently 
three  Crotchets,  produces  the  effect  of  two* 
Crotchets  in  a  Measure.! 


*  See  Turk  (Klavierschule,)  p.  93. 

j  A  very  beautiful  passage  of  this  nature  may  be  found  in  the 
terzette  M  Conrade  the  Good."  See  Shield,  p.  92,  at  the  words, 
" Melting  strains,  ease  his  fiains"  This  elegant  and  scientific 
composition  is  the  production  of  Sarti,  and  was  originally  set  to- 
part  of  a  Miserere  in  the  Russian  language. 


262  IV.    RHYTHM. 

493.  In  the  last  Movement  of  Haydn's  In- 
strumental Passione,  Op.  45,  generally  known 
by  the  name  of  the  seven  last  words,  several 
passages  occur,  in  which,  as  in  the  preceding 
Example,  the  Time  changes  from  three  to  two 
Crotchets.  In  the  final  Section,  the  Time  changes 
to  four  Crotchets,  &c.  As  that  Movement  is 
termed  il  Terremoto,  or  the  Earthquake,  this  con- 
fusion is  particularly  appropriate. 


263 


chap.  n. 

■OF  THE  MUSICAL  FOOT. 


SECT.  I— OF  SIMPLE  FEET. 

Art,  494.  A  small  portion  of  Melody,  with 
one  principal  Accent,  including  the  value  of 
a  Measure*  is  termed  in  this  Work  a  Musical 
Woot. 

The  knowledge  of  this  Rhythmic  subdivision 
of  Melody  is  of  great  importance  in  practical 
Music;  as  the  Singer  must  not  take  breath, 
nor  the  Performer  on  Keyed  Instruments  sepa- 
rate the  Notes,  in  the  middle  of  a  Foot. 

495.  It  has  been  usual  with  some  Authors* 
to  apply  the  names  of  the  ancient  poetical 
Feet  to  corresponding  musical  passages ;  but 
the  difference  between  ancient  and  modern 
Quantity  and  Accent,  leaves  a  doubt  concern- 
ing the  propriety  of  using  the  terms  of  Grecian 
Rhythm. 


*  Prinz,  Sat.  Comp.  P.  Ill  p.  100.     Mattheson.     Volkom. 
CapeL    Meister,  p.  164. 


264 


IV.    RHYTHM. 


496,  An  English  Trochee?-  as  Actor,  hateful, 
&c.  may  be  represented  in  Musical  Notation 
several  ways,  as  in  the  following  Example  : 


497.    An  English  Iambus,  as  Reject,  observe^ 
may  be  represented  by  the  opposite  Rhythm. 


498.  The  other  two  dissyllabic  Feet  of  the 
ancients,  viz.  the  Spondee,  both  syllables  long, 
as  pale  moon,  and  the  Pyrrhic,  both  short,  as 
level,i  may,  in  respect  of  the  Measure  (which 
is  guided  by  the  Accent)  be  always  considered 
as  Trochaic  in  the  English  language,  with  some 
small  occasional  change  in  the  value  of  the 
Notes.f 


*  Lindley  Murray's  English 'Grammar,  4th  edit.  (1798,)  p.  204. 

f  Dr.  B.  i.  p.  78. 

%  See  Examples  of  this  variation  in  the  Cadences  of  the  Glee, 
"  Sigh  no  more,  ladies?  by  R.  J.  S.  Stevens,  and  the  Madrigak 
f*  Since  first  I  saw  your  face"  by  Ford. 


CHAP.  II.     MUSICAL  FOOT.  265 

499.  The  difference  between  the  two  dissyl- 
labic Feet  is  well  exemplified  by  the  word  De~ 
seat,  which,  when  set  to  Music  as  a  Trochee 
^desert*)  signifies  a  lonely  place.  Thus,  in 
the  Messiah,  "  Comfort  ye  my  people." 


Make  straight  in     the      desert. 

500.  The  same  word,  set  to  Music  as  an  lam- 
bus  (desert^)  signifies  merit.  Thus,  in  Judas 
Maccabaeus. 

With      honour       let       desert         be  crown'd. 

The  effect  of  these  Feet,  in  respect  of  de- 
ciding the  Key  by  means  of  the  Accent,  has 
been  before  exemplified,  Art.  304,  p.  1 60.  An- 
other instance  of  Harmony  and  Rhythm  being 
united  to  determine  the  Key,  in  contradistinc- 
tion to  the  Signature,  may  be  seen,  Art.  278, 
p.  145* 


*  The  liberty  of  marking  the  accentual  difference  of  Poet- 
ical Feet  by  the  signs  of  Quantity,  is  taken  by  Koch,  Art.  Me- 
trum.  See.  &c. 


266 


IV.    RHYTHM. 


501.  The  English  Feet  of  three  syllables  may 
be  divided  into  three  classes,  answering  to  the 
Dactyl,  the  Anapaest,  and  the  Amphibrach  of 
the  ancients. 

I.  The  Dactyl,  may  be  represented  by  the 
words  labourer,  possible  ;   and  in  Notes,  thus, 


—       o       o 


§yy=ESiPi 


IL  The  Anapaest  may  be  represented  by 
the  words  contravene,  acquiesce ;  and  in  Notes, 
thus, 


o     u     — 


o     o      — 


III.  The  Amphibrach  may  be  represented 
by  the  words  delightful,  domestic ;  and  in 
Notes,  thus, 


O  '—  o 


iiliiEii 


CHAP.  II.    MUSICAL  FOOT. 


267 


SECT.  II.— OF  COMPOUND  FEET. 

502.  As  a  Musical  Foot  is  equal  in  value  to 
a  Measure,*  although  it  differs  in  Accent,  on 
account  of  the  place  of  the  Bar  ;  so  in  the 
compound  Measures  the  Feet  are  double,  and 
may  be  resolved  into  two  by  dividing  the  Meas- 
ure.    (See  Art.  75,  p.  34.) 

503.  The  following  Trochaic  Example  from 
Haydn,  Op.  40,  Sonata  3,  might  be  resolved 
into  single  Feet  of  two  Crotchets  in  a  Measure. 


S^pjggH^ggj 


504.  The  same  may  occur  in  the  Iambic 
Measure,  as  in  the  following  Example  from 
Haydn's  first  Symphony  (Salomon's  Con- 
certs.) 


@E5 


■=t-F-t 


TpyfFir? 


*  Kollmann,  Essay  on  Harmony,  p.  80,  mentions  the  simi- 
larity of  the  Bar  (Measure)  in  Music  to  the  Foot  in  Poetry, 
but  does  not  shew  their  accentual  difference. 


268 


IV.    RHYTHM. 


505.  An  Example  of  the  compound  Foot  in 
six  Quaver  Time  divided  by  the  Bar,  is  found 
in  Haydn,  Symphony  3d  (Salomon's  Concerts.) 


Foot. 


506.  The  difference  between  compound  and 
simple  Feet,  may  be  further  exemplified  by 
the  following  extracts  from  the  Messiah,  in 
addition  to  the  remarks  given  in  the  preceding 
page. 

("  0  thou  that  tellest"*) 


Strength,     lift     it      up,    be    not    a  -  -  fraid. 

("  Iknozv  that  my  Redeemer  ."t) 


K 


^ZZSzfcsE 


i^nzzzzuza-: 
:zzfcz[Ezizpz 


mwmm 


I  knov/        that  my  Re  -  -  deem  -  -  er. 

The  second  Measure  of  both  Examples  is  di- 
vided in  the  same  manner ;  but  the  Accent,  and 
consequently  the  Feet,  are  entirely  different. 


*  Dr.  A.  No.  9,  p.  36. 
t  Dr.  A.  No.  12}  p.  182 


269 1 
CHAP.  III. 

OF  THE  MUSICAL  CMSURE. 


Art.  507.  The  term  Casure  is  used  in  this 
Work  in  the  signification  annexed  to  it  by 
Koch,  as  the  Rhythmic  Termination  of  any 
passage  which  consists  of  more  than  one  Mu- 
sical Foot.  In  other  words,  tlie  Csesure  is  the 
last  Accent  of  a  Phrase,  Section,  or  Period,  and 
is  distinguished  in  all  the  simple  Measures  by 
the  place  of  the  Bar. 

508.  The  utility  of  this  distinction  .will  ap- 
pear, by  considering  the  two  methods  in  which 
the  Music  might  be  composed  to  the  lines, 

"  Conquest  is  not  to  bestow 
"  In  the  spear  or  in  the  bow." 

Dr.  Prize's  Judith.  ■ 

__     _        __t_    .._.  t      .. 


If  these.  Measures  were  not  divided  as  they 
are,  the  Cse-ure,  which  now  is  properly  placed 
on  a  strong  part  #,  would  fall  on  the  weak 
part  f,  contrary  to  the  nature  of  Accent. 

Z2 


270  IV.    RHYTHM. 

509.  The  Caesure,t  in  ancient  Music,  most 
frequently  occurs  in  the  middle  of  the  com- 
pound Measure,  and  thus  appears  to  a  modern 
view  irregular  and  incorrect. 

510.  The  exceptions  to  the  Musical  Caesure 
falling  upon  the  last  syllable  of  the  line  in 
Poetry,  are  few,  but  very  important. 

511.  From  the  nature  of  Harmony,  it  some- 
times occurs  that  the  three  last  syllables  may 
belong  to  a  Melody  derived  from  the  same 
Chord  ;  in  that  case,  the  Csesure  is  thrown 
back,  as  in  the  following  Example  : 


So  shall  the  lute  and  harp  awake, 
And  sprightly  voice  sweet  descant  run," 

Handel's  Judas  Maccaba>us> 


kirjm:/  art 


:E: 


Here  the  Csesure  falls  on  the  third  Crotchet 
to  the  syllables  descant  run,  instead  of  being 
placed  on  the  last  syllable  run. 


f  The  term  Casura  was  used  by  Prinz  (Sat.  Comp.  P.  I. 
p.  33)  in  two  senses;  the  first  of  which  corresponds  with  that 
here  given.  See  Dr.  Barney*  &&  Caesura.  Rees'  Cyclopedia, 
vol.  V,  P.  II. 


CHAP.  III.     MUSICAL  OffiSURE. 


27  X 


512.  It  appears  that  the  Caesure,  or  Rhyth- 
mic Termination,  is  not  always  the  last  Note 
of  the  passage.  The  Melody  is  often  prolonged 
after  the  Caesure,  by  varying  the  Tonic  Har- 
mony ;f  thus, 


513.  The  whole  Chord  of  the  Dominant  is 
also  often  retained  (see  Art.  376,  p.  197)  upon 
the  Caesure  ;  as  in  the  following  Example  from 
Mozart's  Duett  in  C,  Op.  14,  p.  11. 


514.  The  Air  by  Handel  in  the  Occasional 
Oratorio,|  of  which  the  subject  is  here  given^ 
will  be  found  an  excellent  study  for  the  correct 
position  of  the  Caesure. 


Pro  -  phet  -  ic  visions     strike  mine    eye. 


f  Koch,  Art.  Caesure. 
X  H.  9.  h  No.  11, 


272 


IV.    RHYTHM. 


515.    In  the  following  instance,  Handel  hasr 
not  been  so  careful,  since  the  Caesure  comes  in 
the  wrong  place,  and  the  Bars  are  consequently 
erroneous.     It  should  begin,  like  the  Example^ 
Art.  508,  p.  269,  with  the  half  Measure, 


(H.  S.  I.  No.  47 :  Alexander  Balus.) 


Strange  re  -  verse   of  hu  -  -  man    fate. 

516.  In  the  old  arrangement  of  compound 
common  Time,  it  was  usual  to  change  the  place 
of  the  Caesure ;  sometimes  forming  the  Cadence 
at  the  beginning  of  a  Measure,  and  afterwards 
repeating  the  same  Caesure  in  the  middle  of  a 
Measure.  The  Airs  of  Pergolesi,  Jomelli,  &c. 
are  remarkable  for  this  rhythmic  variation. 
See  a  particular  instance  in  the  admirable  Song 
by  Hasse,  Pallida  il  Sole* 


First  part. 


Second  part. 


*  Delizie  dell'  Opere,  torn."  ii.  p.  146.    Dr.  B..  iv.  378,  548. 
Sir  J.  H.  v.  325,  419. 


CHAP.  III.     MUSICAL  CJESURE. 


273 


517.  In  the  National  Dance  Tune  called 
Polonoise  or  Polacca,  a  considerable  excep- 
tion to  the  Rule  of  the  Caesure  occurs,  as  it 
falls  there  on  the  weak  part  of  a  Measure  ^ 
thus, 


^£SS1 


518.  An  instance  also  of  equivocal  Caesure 
might  occur  in  the  Common  Melody  of  Sally 
in  our  Alley  ^  which  is  properly  barred  thus  : 


^mum^ 


519.  This  might  be  barred  differently,  for 
the  sake  of  throwing  the  Caesure  on  the  last 
syllable  of  the  second  line,  contrary  to  the  Ac- 
cent of  all  the  other  Feet. 


-**~r~- 


HiJli§ 


*  This  Air  was  composed  by  Harry  Carey,  and  begins,  Of 
all  the  girls  that  are  so  smart.  See  Sir.  J.  H.  v.  184.  Dr.  B.  iv, 
300,  652.  The  style  of  Melody  which  distinguishes  this  Tune> 
has  been  often  imitated  with  considerable  success. 


274- 
CHAP.  IV. 

O'-F  THE  PHRASE. 


SECT.  I— OF  THE  REGULAR  PHRASE. 

Art.  520.  A  Phrase  (Eimchniti)  is  a  short 
Melody,  which  contains  no  perfect  nor  satis- 
factory Musical  idea. 

521.  The  Phrase  is  generally  formed  of  two 
Musical  Feet  in  simple  Time,  and  therefore 
contains   the  value  of   two  Measures  \    thusr 

(Beethoven^  Op.  2.) 


522.  In  the  compound  Time  of  the  older 
Writers,  a  Phrase  sometimes  consists  of  a  single 
Measure  y  thus, 


E 


("  0  had  I  Jubal's  lyre.") 

m^ = 


A 


Phrase. 


Phrase. 


CHAP.  IV.     PHRASE.  275 

523.  Koch  has  used  the  mark  of  a  Triangle 
(A)  to  express  the  Phrase,  and  places  it  over 
the  final  Note.*  In  Musical  Punctuation,  this 
sign  seems  analogous  to  that  of  the  Comma  (,) 
in  language. 

524.  Riepel,  of  Ratisbon,  in  I754,t  has  ana- 
lyzed the  rhythmical  arrangement  of  Musical 
thoughts  with  great  success. 

525.  He  divides  Musical  Phrases  into  two 
species — Perfect^  when  concluded  by  the  Tonic 
Harmony  ;  and  Imperfect,  when  concluded  by 
the  Dominant. 


B3HMTWB 


Imperfect  Phrase.  Perfect  Phrase. 

526.  In  the  works  of  Kirnberger,  the  term 
(Insure  seems  equivalent  to  the  term  Phrase ; 
and  the  rejection  of  the  word  Einschnitt  is,  as 
ICoch  observes,  a  defect  in  the  theory  of  that 
able  -Contrapuntist 4 

*  Anleitung  (1787,)  vol.  ii.  p.  360. 

f  De  Rhythmopoeia,  Tactordnung,  p.  23, 

+  Koch's  Lexicon,  Art.  Absiiti. 


276 


IV.    RHYTHM. 


527.  The  Phrase  is  subject  to  all  the  varie- 
ties of  Accent  that  distinguish  the  Feet  of 
which  it  is  formed;  and  the  two  Measures  of 
the  regular  Phrase  should  always  be  complete. 


("  Rasserena"~SaecbinL*) 


528.    When  the  same  Phrase  is  repeated  per  9 
ionm,  that  is>  a  Note  higher  or  lower,  a  slight 
variation  may  occur. 


(Non  vi  turbate-^-Gluck^') 
A 


529.  The  too  frequent  repetition  of  the  same 
passage  in  various  Keys,  particularly  on  the 
Chromatic  Modulation  (Art.  454,  p.  246) 
ascending,  as  found  in  Corelli,  Dr.  Green,  -&c. 
is  termed  by  the  Italians  Rosalia.\  See  Koch, 
Art.  Transposition* 


*  Corn's  Select  Collection,  vol.  i.  p.  29. 
f  Ditto,  vol.  i.  p.  23. 
±  Dr.  B.  25.  613,  iv.  45. 


CHAP.  IV.     PHRASE. 


277 


530.  Koch  makes  three  remarks  upon  the 
harmonical  construction  of  the  Phrase,  which 
apply  to  what  has  been  already  observed  from 
Riepel. 

First,  That  the  Phrase  frequently  terminates 
with  the  Subdominant  Harmony. 


g=g#|gfii#g 


Secondly,  That,  as  the  Phrase  is  an  incom- 
plete passage,  the  Csesure  may  be  made  on  a 
Discord,  particularly  the  Dominant  Seventh. 


13'  # 


Thirdly,    That  the   Caesure  may  also  take 
place  on  the  Inversion  of  a  Chord. 


A 


A  A 


278  IV.    RHYTHM. 


53 1 .  Rousseau  (x^rt.  Phrase)  has  defined  the 
term  in  a  more  extensive  sense,  very  similar  to 
that  applied  to  the  word  Section  in  the  following 
Chapter.  He  distinguishes  between  Phrases  in 
Melody,  and  Phrases  in  Harmony.  These  last 
seem  to  correspond  with  the  Dominant,  and 
Mediant  Sequences.     See  Art.  427,  p.  225. 

532.  Heck,  in  his  Musical  Library  (p.  11,) 
describes  the  Phrase,  Section,  and  Period,  un- 
der the  terms  Section,  Period,  and  Paragraph, 
and  considers  the  term  Section  as  synonimous 
with  Rhythmus.* 

533.  Holden  also  (p.  35)  uses  the  term 
Phrase  in  a  general  sense,  and  appears  to  include 
all  rhythmic  varieties  in  its  definition. 

534.  The  Rev.  Mr.  Jones,  of  Nayland  (p. 
48,)  calls  the  Phrases  Clauses  ;  and  considers  two 
similar  Phrases  following  and  depending  on 
each  other,  as  antecedent  and  consequent ;  upon 
which  succession  he  makes  some  very  just  and 
useful  remarks,  referring  to  Corelli's  8th  Con- 
certo at  the  close  of  the  Adagio,  Handel's  Air  in 
the  Overture  to  Berenice,  &c.  &c. 


*  The  comjioimd  Rhythm  of  Kollmann,  Essay  on  Harmony  3 
p.  80,  and  the  term  Rhijthmus  in  Shield,  p.  89,  seems  to  corres- 
pond  with  Phrase  or  Section,     - 


CHAP.  IV.  i  PHRASE. 


279 


SECT.  II— OF  THE  IRREGULAR  PHRASE. 

535.  Whenever,  by  repeating  one  of  the 
Feet,  or  by  any  other  variation  of  the  Mel- 
ody, three  Measures  are  employed  instead  of 
two,  the  Phrase  is  termed  extended  or  irreg- 
ular. 

(Kreusser,  Op.  xi.  Waltz  the  2d.) 


■88- 


•    --.-T-W    ^     *~r~3^   # 


:fl=:z=: 


mum 


536.  A  beautiful  Example  of  two  extended 
Phrases,  the  latter  of  which  contains  a  Measure 
of  double  Time  (Art*  491,  p.  261,)  is  found  in 
Handel  0 


("  He  was  brought  as  a  lamb."*) 

A  A 


ggj5fj|gigap|g;a 


537.    The  contracted  Section  resembles  the 
extended  Phrase,  in  the  number  of  its  Meas- 


*  Redemption,  p.  273. 


280 


IV.    RHYTHM. 


ures,  both  consisting  of  three  Feet ;  but  the 
Phrase  is  always  an  imperfect  Melody,  whereas 
the  Section  always  terminates  with  a  Cadence. 

538.  A  Phrase  is  often  extended  by  continu- 
ing the  Harmony  of  its  first  Measure,  as  in  the 
following  Example : 


~7C-^ 


(Clementi,  Op.  2,  Sonata  4.) 

A 


-s- 


539.  A  Phrase  also  becomes  irregular,  when 
a  Measure  foreign  to  its  subject  is  introduced 
by  way  of  prelude ;  thus, 

(Mozart,  Op.  S,  Duetto.) 


540.  In  some  passages,  the  variation  of  the 
Csesure  Note,  by  an  Appoggiatura,  or  by  other 
means,  will  give  to  a  contracted  Section  the  ef- 
fect of  an  extended  Phrase. 


CHAP.  IV.     PHRASE.  23  i 

541.  The  following  Example  from  Haydn's 
Creation  is  of  that  nature,  and  is  therefore 
equivocal  ;  as  its  Melody  indicates  an  ex- 
tended Phrase,  and  its  Harmony  a  contracted 
Section. 


("  Now  vanish") 


mw^wW^ 


542.    The  next  passage  is,  however,  more 
complete,  and  really  terminates  the  Section. 


Hence  appears  the  propriety  of  terming  the 
first  an  extended  Phrase. 

543.  In  Choral  Music  of  the  Ancient  School, 
the  contracted  Phrase  seems  to  be,  in  many 
cases,  equivalent  with  the  compound  Foot. 
See  an  instance  before  adduced,  in  "  The  flocks 

shall  leave"  Art.  281,  p.  146.. 
A  A3 


282  IV.    RHYTHM. 


544.  Thus  also,  in  the  sublime  Chorus, 
"  For  unto  us  a  Child  is  born"  the  first  Phrase 
is  little  more  than  a  compound  Foot. 

A 


^^S^S 


For    unto      us      a  Child  is         born, 

545.  In  Fugues  by  Augmentation^  Feet  be- 
come Phrases,  Phrases  become  Sections,  &c. 
In  Fugues  by  Diminution^  on  the  contrary, 
Phrases  become  Feet,  &c.  as  in  the  following 
Example  : 

("  Let  all  the  angels  of  God."*) 

Subject  in  Phrases. 

iisiiliiiiii 


546.  The  Answer  by  Diminution  changes 
Crotchets  into  Quavers,  Quavers  into  Semi- 
quavers, &c. 


Answer  in  Feet. 


*  Messiah,  No.  XI.  p.  127. 


CHAP.  IV.     PHRASE.  28S 

SECT.  III.-OF  INTERWOVEN  PHRASES 

547.  In  Figurate  Counterpoint,  anciently 
termed  Descant  ?  where  Imitations,  Fugues,  and 
Canons  are  employed,  the  Phrases,  as  they 
occur,  are  interwoven  in  the  different  parts. 

Thus,  the  extended  Phrase  to  the  words, 
"  shall  be  revealed"  is  interwoven  in  the  vari- 
ous parts. 

("  And  the  glory  of  the  Lord" — Messiah.) 


^lfZ:r^=F~=^ 


548.  The  union  of  Phrases  towards  the  end 
ef  a  Fugue,  &c.  is  sometimes  even  closer  than 
a  Foot,  being  at  the  distance  of  a  Crotchet 
only.  Many  examples  of  this  style  may  be 
found  in  the  Madrigals  of  Wilbye,  Weelks,  &c. 
In  Italy,  this  is  called  Lo  Stretio  Delia  Fuga^ 
the  knot  of  the  Fugue. 

*  P,  Martini,  Saggio,  torn,  ii,  p.  39, 


284 


IV.    RHYTHM. 


549.  The  Accent  of  the  words,  however, 
will  not  always  permit  them  to  agree  with  so 
close  a  union  of  the  Music,  as  the  alteration  in 
the  following  Example  will  shew: 


("  Te  sons  of  Israel"*) 
A 


b- — -F- 


Iplpiiil 


Kirrifffrf^ 


550.  A  similar  passage  is  introduced  with 
great  effect,  at  the  end  of  "  The  flocks  shall 
leave"  where  the  Violins  re-echo  the  same 
Notes  (in  the  Octave  above)  as  are  sung  in  the 
preceding  Time,  to  the  words,  "  Die,  presumptu- 
ous Acis" 


i=zzz— ~=T~ 


m*f   FTOse^ 


i,#i§iigi!=iii 


*  Joshua,  p.  -4.    Redemption,  p.  166. 


CHAP.  IV.     PHRASE. 


285 


551.  In  those  pieces  of  Music  termed  Can- 
ens,  in  which  the  same  Melody  is  continually 
heard  in  the  different  parts,  the  Phrases  are,  of 
course,  united  throughout  the  whole  composi- 
tion. 

Of  this  kind  of  Music,  the  finest  specimen 
now  extant  is  the  celebrated  Non  Nobis  Domine*' 
by  Bird  ;  which  will  ever  remain  a  lasting  or- 
nament to  the  taste  and  science  of  the  country 
in  which  it  was  produced. 

The  Phrases  of  this  Canon  are  as  follow  * 


Sl^liPsPPHi 


Non       no  -  bis      Do  -  mi  -  ne    non         no   -    bis 


Sed         nomini  tu    -    o      da       glori  -  am 

A  A 


1=11111111111=1111 


Sed         nomini  tu    -    o      da       glori  -  am. 


*  See  before,  Art.  421>  p.  221,  and  La  Borde^  torn.  ii.  p.  100, 
Dr.  B.  ii.  p.  305,  in  a  Note. 


CHAP.  V. 

OF  THE  SECTION. 

SECT.  I— OF  THE  REGULAR  SECTION. 

Aft.  552.  A  Section  (Absatz)  is  a  portion 
of  Melody,  formed  by  two  regular  Phrases,  the 
last  of  which  is  terminated  by  a  Cadence.  ~ 

553.  The  Section  takes  the  name  of  Tonic, 
or  of  Dominant,  according  to  its  final  Har- 
mony ;  as  in  the  two  following  Examples  from 
Haydn's  Creation. 


("  The  heavens  are  telling"} 

Dominant  Section. 

r£ 


Tonic  Section. 


w^mmmi 


554.    In  Music  of  the  older  School,  the  Sec- 
tion often  consists  of  two  Measures  only,  as  in 


CHAP.  V.     SECTION.  287 

the  Example,  "0  had  I  Jubal's  lyre,'9  Art.  52.2, 
p.  274. 

555.  Koch  has  also  adopted  the  mark  of  a 
Square  (n)  to  express  the  Section,  and  places 
it,  like  the  Triangle  of  the  Phrase,  over  the 
final  Note.  This  Sign  seems  analogous  to  that 
of  the  Semicolon  (y)  in  language. 

556.  In  the  Arioso,  or  Legato  style  of  Mu- 
sic, it  is  usual  to  find  Sections  which  are  not 
subdivided  into  Phrases,  as  in  the  following 
Example. 


(J.  B.  Cramer*  Ex.  41.) 

,    n 
Jt 


557.  Koch  makes  also  three  remarks  upon 
the  Section!  (Art.  Absaiz,)  as  relating  to  its 
Punctuation,  to  its  Rhythm,  and  to  its  Har- 
mony. 

*  Studio  pel  U  Piano-forte,  Op.  30,  p.  72. 

f  Prins,  in  1696,  used  the  Latin  term  Sectio,  as  signifying 
a  part  of  Melody  terminated  with  a  formal  Cadence.    "  Sectio 
ist  ein  Theil  der  Melodey,  so  sich  endet  mit  einer  Clausula  for 
wiali"    Sat.  Comp.  P.  I.  chap.  viii.  p.  26. 


288  -*V.    RHYTHM. 

First,  Its  conclusion,  or  the  form  and  har- 
monical  disposition  of  the  Cadence,  termed  by 
Xoch,  its  interpunctal  nature.  Upon  this  de- 
pend the  classification  into  Tonic,  Dominant, 
or  even  Subdominant  Sections,  the  variation  of 
the  Caesure  Note,  &c. 

Secondly ',  Its  extent  in  the  number  of  Meas- 
ures and  in  the  similarity  of  Feet  (see  Koch, 
Art.  Metrum^)  termed  its  rhythmical  nature. 
By  this  the  regular  Section,  or  Rhythm* 
(Vieref)  of  four  Measures,  is  distinguished 
from  the  irregular  Section,  whether  extended 
or  contracted v&c.  &c. 

Thirdly,  The  extent  and  variation  of  its 
component  Harmonies ;  or  the  degree  of  its 
perfection  as  to  being  dependent  or  indepen- 
dent of  the  adjoining  Sections,  termed  its 
logical  nature.! 

*  See  before,  Art  532,  p.  278. 

f  Turk  (Klaviersehule,  p.  336,)  has  entered  fully  into  the 
doctrine  of  Rhythm,  and  has  invented  a  mark  (similar  to  that 
t>f  our  passing  Shake,  see  Art.  110,  p.  66,)  which  he  places 
over  the  final  Note  of  a  Foot,  Phrase,  Section,  or  Period,  to 
detach  them  from  each  other. 


CHAP.  V.     SECTION. 


289 


SECT.  II.— OF  THE  IRREGULAR  SECTION. 

558.  Irregular  Sections  are  of  two  classes, 
contracted  of  less  than  four  Feet,  and  extended  of 
more  than  four  Feet. 

I.  The  contracted  Section  differs  from  the 
extended  Phrase  by  its  terminating  with  a  Ca- 
dence, as  before  observed  (Art.  534,  p.  27S,) 
and  generally  consists  of  three  Feet. 

II.  The  extended  Section  may  consist  of 
Jive,  six,  seven,  or  more  Feet ;  and  the  Sec- 
tions are  distinguished  from  each  other  by  the 
similarity  of  Time  or  Modulation  in  their  re- 
spective Feet. 

III.  The  extended  Section  of  five  Feet*  is 
formed  by  various  methods.  The  following 
Example  from  Koch  augments  the  two  first 
Notes  of  the  regular  Section. 


£={3=§= 


tdfcfcf: 


--*-■--- 


559.    The  Section  of  six  Feet  consists  either 


*  See  two  Examples  of  this  kind  in  Shield,  p.  £9. 
B  B 


29G 


IV.    RHYTHM. 


of  two  extended  Phrases  of  three  Feet  each  g 
thus, 

(Mozart,  Duett,  Op.  3.) 


i&tm 


t^mm^m 


.Q- 


Or  of  three  regular  Phrases  of  two  Feet  each  j 
thus, 

(Avis on,  Book  iv.  Concerto  \v*  f*  31.) 


560.  The  limits  of  the  present  Work  will 
not  admit  any  further  Examples  of  more  ex- 
tensive Sections. 


CHAP.  V.     SECTION.  29  i 


SECT.  III.— OF  THE  INTERWOVEN  SECTION. 

561.  When  the  regular  Section  is  so  united 
to  the  following  one,  that  upon  the  Caesure 
Note  of  the  first  the  second  commences,  the 
Section  is  not  only  contracted,  but  interwoven. 

562.  Thus  the  following  Section,  which  is 
regular  in  a  former  part  of  the  page,  is  inter- 
woven  in  this  Example. 

(Mozart,  Op.  3,  Duetto,  p.  7.) 

563.  When  the  subject  of  a  Fugue  consti- 
tutes a  Section,  the  Answers  are  interwoven  at 
the  Caesure  of  the  Melody.  Thus,  in  the 
Overture  to  Esther, 


The  second  Section  commences  in  the  middle 
of  the  fifth  Measure  on  the  Caesure  Note. 


292  IV.    RHYTHM. 

564.  In  the  ancient  style  of  Music,  great 
effects  are  produced  by  interweaving  Phrases, 
Sections,  &c.  ;  and  also  by  intermixing  sub- 
jects of  different  Rhythms. 

Thus,  in  the  final  Chorus  of  Steffani's  Mo- 
tett,  the  original  plain  Song,*  "  Qui  Diligit" 
is  introduced  with  unexpected  effect  in  the 
Base,  while  the  other  parts  are  singing  the 
Descant,  "  Frangere  Tehtm,"\ 


mmm 


In  the  Chorusses  of  Handel,  these  effects  con- 
tinually occur.  A  remarkable  instance  may  be 
seen  in  that  of  "  Wretched  lovers"  (in  Acis 
and    Galatea,)    at    the    words,    "  Behold  the 

monster,  Polypheme. 


*  The  Canto  Fermo  of  the  Italians,  or  Choral  of  the 
Germans. 

f  The  "  Qui  diligit"  of  the  Abbate  Steffani  is  at  present 
unpublished ;  but  it  would  .be  a  useful  study  for  Fugue,  8cc. 
if  printed  with  annotations. 


CHAP.  V.     SECTION. 


293 


565.  In  compound  Time,  the  interwoven 
Sections  commence  at  the  half  Measure,  and 
consist  of  only  a  Measure  and  a  half.  The 
following  Example  is  taken  from  the  Duett  in 
the  same  Motett  of  Steffani,  Qui  Diligit. 


3*- ~F-*T", 


:-* 


igpumi 


-F- 


566.  From  this  union  of  the  parts  arises  the 
custom  before-mentioned  (Art,  515,  p.  272,) 
of  placing  the  Csesure  in  the  middle,  instead 
of  the  beginning  of  the  Measure. 

567*  It  is  also  usual  to  protract  the  Harmo- 
nies of  an  interwoven  Section,  so  that  it  shall 
appear  regular  in  the  number  of  Measures. 
Such  is  the  following  Section,  in  the  last  Cho- 
rus of  Graun's  Passione.* 


5^EE|EPEEgPEgiiEg 


*  Der  Tod  Jesu,  or  the  Death  of  Our  Saviour.    See  Hiller's 
edition  (1785,)  p.  68. 

Bd  2 


294 


IV.    RHYTHM. 


568.  In  this  instance,  the  prolongation  of 
the  Tonic  Harmony  in  the  first  Measure, 
makes  the  Section  appear  regular,  although  it 
is  really  interwoven. 

569.  In  Vocal  Music,  the  Harmony  of  a 
Section  is  also  protracted  for  the  sake  of  ex- 
pressing the  words,  as  in  the  Glee  of  the 
"  Red  Cross  Knight"  by  the  Author  of  this 
Work ;  the  first  Section  of  which,  if  regular, 
would  have  been  expressed  thus, 


Blow,  warder,   blow    thy         sound  -  ing 


horn. 


But  to  give  greater  effect  to  the  words, 
"  Blow,  warder,  blow"  the  two  first  Notes  are 
augmented  to  Minims  ;  and  the  Section,  as 
written  in  common  Time,  appears  contracted, 
although  it  is  really  extended  ;*  thus, 


i^i^Epp 


Blow,  warder,    blow    thy      sound  -  ing         horn. 


*  This  Section  is  consequently  similar  to  that  exemplified 
before,  Art  558,  p.  289,  being  really  five  Measures  of  two 
Crotchet  Time. 


CHAP.  V.     SECTION.  295 


SECT.  IV.— OF  THE  CODETTA. 

570.  A  short  Phrase,,  or  any  other  passage^ 
which  does  not  constitute  part  of  a  regular 
Section,  but  serves  to  connect  one  Section  or 
Period  to  another,  is  termed  in  this  Work  a 
Codetta. 

The  term  is  used  by  Sabbatini,  the  successor 
to  Vallotti  at  Padua,  in  his  Trattato  sopra  le 
Fughe,*  in  a  more  limited  sense. 

571.  In  the  Duett  of  Mozart,  referred  to 
(Art.  559,  p.  290,)  the  following  Phrase  unites 
the  minor  Period  to  the  original  Theme. 


giii^gggjiEi^EEg 


572.  The  extempore  divisions  made  at  a 
close  by  Singers  or  Solo  Performers,  and  term- 
ed Cadenze  or  Cadences  ad  libitumy  are  all  a  spe- 
cies of  Codetta, 

573.  In  the  repetition  of  a  Strain,  the  pas- 
sages marked  first  Time  and  second  Time, 
generally  contain  each  a  short  Codetta  j  one  to 

*  Vinezia  (1802,)  torn,  ii  p.  199. 


296  IV.    RHYTHM. 

lead  back  to  the  commencement,  the  other  to 
lead  forward  to  its  continuation. 

{Woelftl,  Op.  25,  %  16.) 

First  Time.  Second  Time. 


JS=£gSl! 


574.  In  this  example,  the  short  Attacco*  of 
each  Time  is  not,  as  in  general,  a  separate 
Codetta,  but  very  ingeniously  makes  part  of 
the  original  subject, 

575.  In  the  Da  Capo  Airs  of  Handel,  &c. 
(Art.  126,  p.  74,)  a  Codetta  is  generally  in- 
serted, to  lead  back  to  the  Theme.  Thus,  in* 
u  0  the  pleasure  of  the  plaim" 


576.    The  most  successful  Composer  in  this 
style  is  Graun,  who,  in  his  celebrated  Te  De- 

*  Padre  Martini,  Saggio,  torn.  ii.  p.  8.  Dr.  Burney  (Art. 
Attacco,  Dr.  Rees'  Cyclopaedia,)  defines  it,  "  a  kind  of  short 
Subject  or  Point,  not  restricted  to  all  the  laws  of  regular 
Fugue,"  &Cr 


CHAP.  V.    SECTION. 


297 


urn,*  has  used  the  Codetta  at  the  end  of  seve- 
ral Movements,  to  unite  them  to  the  next. 

Thus,  after  the  final  Cadence  of  the  Air, 
"  Tu,  ad  liberandum"  the  following  Codetta 
is  inserted  in  different  Modulation. 


i^ip 


^  3  -^*3- 


With  what  great  effect  this  passage  leads 
into  the  following  Theme,  the  adjoined  Ex- 
ample will  demonstrate. 


ass 


mmm 


*  Several  of  the  best  Movements  from  this  excellent  Com- 
position, are  now  printed  in  the  Selection  of  Sacred  Musk 
publishing  .at  Birchall's,  by  the  Rev.  Mr.  La  Trobe. 


29& 


CHAP.  VL 

OF  THE  PERIOD. 

SECT.  L— OF  THE  TONIC  PERIOD. 

.Art.  577.  A  Period  consists  of  one  or  more 
Sections,  occasionally  interspersed  with  inde- 
pendent Feet,  Phrases,  or  Codettas. 

Thus,  the  Air  of  God  save  the  King  (Art. 
146,  p.  85,)  consists  of  two  Periods ;  the  first 
Period  contains  one  extended  Section  (Art. 
559,  p.  290,)  and  the  last,  two  regular  Sec- 
tions. 

578.  When  one  or  more  Periods  are  termi- 
nated by  a  double  Bar  (Art.  ISO,  p.  77,)  they 
are  termed  Strains. 

579.  The  Period  always  ends  with  a  radical 
Cadence,  like  the  Section  (some  few  instances 
excepted,  Art.  424,  p.  223,)  and  answers  to 
the  full  stop  (.)  in  language. 

580.  Those  Periods  which  terminate  with 
the  perfect  Cadence,  arej  from  their  last  Har- 
mony, termed  Tonic  Periods. 


CHAP.  VI.     PERIOD.  29§ 

581.  The  following  Example  of  a  Tonic 
Period,  is  taken  from  the  third  Sonata  of 
Pleyely  dedicated  to  the  Queen. 


Cadence  of  the  second  Section.      Cadence  of  the  fourth  Section. 


This  whole  Period  consists  of  four  regular 
-Sections,  and  is  distributed  into  eight  regular 
Phrases. 

The  third  Section  is  a  repetition  of  the  first 
by  the  Violin,  while  the  Piano  Forte  takes  the 
Accompaniment.  The  fourth  Section  is  similar 
to  the  second  in  respect  of  its  leading  Phrase, 
but  differs  in  the  final  Phrase,  by  terminating 
with  the  perfect  Cadence. 

5S2.  In  the  Example  above  given,  all  the 
transient  Notes  are  omitted,  and  none  but  the 
chief  Sounds  of  the  Harmony  retained.  (See 
Art.  187,  p.  107.) 


soo 


IV.    RHYTHM. 


583.  As  the  Sonatas  of  Kozeluch  are  partic- 
ularly distinguished  by  the  regularity  and 
clearness  of  their  Rhythm,  another  instance 
of  a  Tonic  Period  may  be  taken  from  his 
Opera  21,  Sonata  2,  in  A  Major. 


584.     The  second  Section   consists  of  one 
regular  Phrase  repeated  ;  thus, 


EggjJfgP 


585.  The  third  Section  (with  the  omission 
of  the  passing  Notes)  concludes  the  Period } 
thus, 


itifiiiiiiHi:! 


586.  Many  more  Examples  might  be  given 
from  the  works  of  the  Bachs,  Vanhall,  Haydn, 
Mozart,  &c.  &c.  since  the  variety  of  Periods, 
in  respect  of  their  component  parts,  is  as  great 
in  Music  as  in  any  other  language. 


CHAP.  V       PERIOD. 


301 


SECT.  II.— OF  THE  DOMINANT  PERIOD. 

5$7.  When  a  Period  concludes  with  an  im- 
perfect Cadence  (Art.  414,  p.  217,)  it  is  term- 
ed a  Dominant  Period. 

An  example  of  this  Period  may  be  found  in 
Kozeluch,  Op.  23,  Sonata  1. 

A  n 


.588.  The  second  Section,  being  interwoven 
with  the  third,  is  contracted,  and  consists  of 
three  Measures  only.     (See  Art,  562,  p.  291.) 


iSHigiii 


589.  The  third  Section  is  formed  of  two  ex- 
tended Phrases  with  one  Measure  repeated,  and 
concludes  on  the  Dominant  j  thus, 

A 


^m&m^m 


C  c 


302  IV.    RHYTHM. 

590.  It  is  to  be  understood,  that  the  terms 
Tonic  and  Dominant,  relate  only  to  the  na- 
ture of  the  Cadence,  not  to  the  Modulation  of 
the  Period. 

591.  It  not  unfrequently  happens  that  a  Pe- 
riod, after  modulating  from  the  original  Tonic 
to  its  own  Dominant,  may  terminate  with  an 
imperfect,  or  even  with  a  mixt  Cadence,  in  the 
new  Key, 

592.  The  final  Chord,  in  this  case,  will  be 
the  Supertonic  of  the  original  Scale,  made  % 
new  Dominant.* 

593.  As  the  knowledge  of  Feet  and  Phrases 
is  very  important,  to  prevent  the  bad  Delivery 
(Vortrag)  of  vocal  or  instrumental  pieces  ;  so 
also  the  distinction  of  Sections  and  Periods, 
gives  the  Performer  an  opportunity  of  length- 
ening or  contracting  his  Performance  at  pleas- 
ure. 

594.  The  following  hints  may  be  useful,  till 
a  more  extensive  Analysis  of  Rhythm  can  be 
given. 


*  An  instance  of  this  termination  of  a  Period,  may  be  seen 
in  the  popular  Sonatas  of  Glementi,  Op.  22,  The  first  Period 
of  the  first  Sonata  concludes  on  the  original  Supertonic  E, 
with  the  Major  Third  as  a  Dominant  to  the  new  Key  A  Ma- 
jor, as  a  Modulation  from  D  Major.. 


CHAP.  VI.     PERIOD.  303 

I.  Every  Section  and  Period  may  be  re- 
peated, provided  the  Codetta  (if  any)  leads 
back  to  the  original  Note. 

II.  Every  repetition  of  a  Section  or  Period 
may  be  omitted,  due  care  being  taken  to  play 
the  last  Codetta  (if  any)  instead  of  the  first. 

III.  Those  Sections  and  Periods  which  con- 
tain Solos  for  the  Violin,  Flute,  &c.  when  not 
practised  with  the  Accompaniment,  should  be 
omitted  ;*  and  the  two  sets  of  Sonatas  by  Ko- 
zeluch,  Op.  21  and  23,  will  admit  of  these 
omissions  with  great  propriety. 

IV.  In  all  omissions  of  Periods,  great  atten- 
tion must  be  paid,  to  make  the  harmonical 
conclusion  of  one  Period  agree  with  the  har- 
monical commencement  of  the  next,  and  to 
join  the  passages  by  their  attendant  Keys* 

V.  The  difficult  Modulations  at  the  opening 
of  the  second  strain  of  a  Sonata,  may  be  some- 
times omitted,  for  the  sake  of  gaining  time  $ 
but  every  person  who  wishes  to  excel  in  Sci- 
ence or  Execution,  will  practise  those  passages 
much  oftener  than  any  other  in  the  Movement. 


*  Particularly  where,  the  Violin  Melody  is  not  inserted  in 
small  notes,  or  in  a  separate  line.  When  they  are  inserted,  the 
passages  may  be  sometimes  introduced  on  Keyed  Instruments 
■with-  good  effect 


304  W.    RHYTHM. 


SECT.  III.—OF  THE  INTERWOVEN  PERIOD. 

595.  As  the  Periods  of  modern  Music  are 
distinguished  by  the  accuracy  of  their  phrase- 
ology (being  for  the  most  part  regular  ;)  so 
those  of  the  old  School  are  generally  inter- 
woven,  and  the  Caesure  Note  of  one  Period 
becomes  the  first  Note  of  the  next. 

The  Fugues  of  Sebastian  Bach  are  highly 
celebrated  throughout  Europe,  for  union  of 
Periods  and  closeness  of  Harmony. 

596.  The  first  Fugue  of  his  twenty-four 
pieces,*  entitled  Das  wohltemperirte  Klavier,  is 
formed  on  the  following  subject. 


iimissi 


The  first  Period  terminates  in  G  Major,  on 
the  middle  of  the  tenth  Measure. 

The  second  in  A  Minor,  on  the  beginning 
of  the  fourteenth  Measure. 

The  third  in  D  Minor,  on  the  middle  of  the 
nineteenth  Measure. 


*  First  set  of  Fugues  in  all  the  twenty-four   Keys,  Majci 
and  Minor. 


CHAP.  VI.     PERIOD.  305 

The  fourth,  in  G  Major,  on  the  middle  of 
the  twenty  first. 

The  fifth,  in  C  Major,  on  the  beginning  of 
the  twenty-fourth  ;  whence  the  sixth  and  last 
four  Measures  conclude  on  the  Tonic  Pedal,* 

597.  The  third  Fugue  by  Handel  (Op.  3,> 
of  two  subjects  in  B  flat  Major,  contains  a 
greater  number  of  interwoven  Periods. 


EteteE^:5=if^:E|£ 


==En==f=££f%=£= 


The  first  Dominant  Period  of  two  contracted 
Sections  ends  on  the  Caesure  Note  of  the  sev- 
enth Measure. 

The  second  on  the  fifteenth  Measure. 

The  third  on  the  Middle  of  the  thirty-first. 

The  fourth  on  the  middle  of  the  thirty- fifth. 

The  fifth  (a  Tonic  Period  in  D  Minor)  on 
the  Csesure  Note  of  the  forty-fourth,  &c. 

598.  Another  instance  of  a  Fugue  on  two 
subjects,  much  longer  than  this  of  Handel,  is 


*  The  Tonic  Pedal  of  this  Fugue  is  really  a  Coda.    See  a 
copy   printed  by  Mr.    Diettenhofer,    in    the  third  Set  of   his 
Fugues,  published  by  Messrs.  Goulding  and  Co. 
C  c2 


306  IV.   RHYTHM. 

that  by  Domemco  Scarlatti*  vol.  ii.  p.  62,  OR 
the  following  Theme* 


Hp^i^pp 


599.  All  the  Fugues  in  Handel's  Chorusses, 
in  his  Overtures,  in  his  Lessons,  in  his  Violin 
Sonatas  or  Trios,  in  the  Symphonies  to  the 
Chandos  Anthems,  &c.  &c.  are  master-pieces 
of  learning  and  efect. 

600.  Among  all  the  various  methods  of  in- 
terweaving the  Periods  of  the  Fugue,  none  has 
more  effect  than  that  of  making  the  Tonic  Har- 
mony of  the  final  Cadence  a  new  Dominant* 

This  may  be  performed  diatonically*  by 
flattening  the  Third  of  the  leading  Chord 
(Art.  424,  p.  224,)  or  chromatically,  by  the 
Modulation  given  in  Art.  453,  p.  245. 


*  This  is  the  Clausula  Ficta  of  the  older  School,  in  opposi- 
tion to  the  Clausula  Formalis,  or  perfect  Cadence.  See  Fu& 
(Gradus  ad  Famassum,)  p.  155. 


CHAR  VT     PERIOD. 


30/f 


Diatonically. 


5  7  6  5  — 

4  b  b  4-  4  3  bT 


-A\£- 


Instead  of 


Plpp 


T 

5  — 
4  3 


gg^=gia 


The  same  effected  chromatically, 


HHil 


£F^4^ga$^ 


l=iy=B=U51Pl 


308 


XV.    RHYTHM. 


SECT.  IV.--OF  THE  CODA. 

60 1 .  The  concluding  passage  of  many  Move- 
ments, when  it  occurs  after  a  protracted  perfect 
Gadence  (Art.  423,  p.  223,)  is  termed  the 
Coda,*  or  final  Period. 

602.  The  length  of  the  Coda  may  be  various  y 
in  some  pieces  it  contains  several  Sections,  in 
others  merely  a  single  Phrase. 

603.  The  following  short  Coda  from  Haydn,, 
Op.  40,  will  serve  as  an  Example  : 


:szi:z: 


sglUS 


m 


m 


In  this  passage,  the  two  first  Measures  of  the 
Coda  might  be  omitted,  without  injuring  the 
Harmony. 

604.  When  the  Coda  consists  wholly  of  the 
Tonic  Harmony,  the  open  or  right  Pedal  of 
the  Grand  Piano  Forte,  which  raises  the 
Dampers,  may  be  employed  with  good  effect. 


*  In  Modern   Music,   the  Coda  is  generally  preceded  by  a 
long  shake  on  one  of  the  notes  of  the  Dominant  Harmony. 


CHAP.  VI.     PERIOD.  309 

605.  Instances  occur  in  Kozeluch,  Op.  40, 
Sonata  J,inF  Major,  p.  11,  and  in  Op.  41, 
Sonata  1,  in  B  flat  Major,  p.  9,  where  he  uses 
the  term  Aperto  (open)  for  this  purpose. 

606.  In  foreign  printing,  the  abbreviations 
C.  S.  con  Sordini,  with  Dampers  (or  Mutes,) 
S.  S.  senza  Sordini,  without  Dampers*  are 
used  for  the  same  purpose.  (See  WoelfL's  So- 
natas, Op.  27,  Paris  edition.) 

607.  In  ancient  Music,  the  Coda  generally 
occurs  on  the  Tonic  Pedal ;  and  in  Minor 
Movements  it  is  used  as  leading  to  the  Plagal 
Cadence  (Art.  41 7,  p.  219.) 

60S.  There  is  a  style  of  Coda  peculiar  to 
Italian  Bravura  Airs.*  (See  the  conclusion  of 
the  Chorus  in  Haydn's  Creation,  The  heavens 
are  telling.') 

609.  In  Rondeaus,  &c.  the  Coda  is  placed 
as  a  separate  Strain,  with  the  term  itself  an- 
nexed.    (See  Shield,  p.  1 05.) 

610.  But,  to  shew  what  great  effects  are  de- 
rived from  this  addition,  after  the  last  perfect 
Cadence  of  the  Movements  has  been  heard,  the 


*  The  Harmonies  of  this  Coda  are  five,  the  Tonic,  Subme- 
diant,  Subdominant,  Dominant,  and  Tonic.  The  Subdomi- 
nant generally  bears  its  added  Sixth.    Art.  389,  p.  202. 


310 


IV.    RHYTHM. 


Hallelujah  Chorus  of  Handel's  Messiah  may 
be  adduced.  The  last  Section  before  the  Coda, 
closes  the  Period  with  the  perfect  or  authentic 
Cadence  (Art.  418,  p.  220  ^)  thus, 


and     he  shall  reign  for       ever     and    ever. 

This  is  followed  by  a  Coda  on  the  Chords  of 
Subd®minant  and  Tonic,  concluding  with  the 
Plagal  Cadence. 


Such  were  the  simple,  but  sublime  Notes,. 
which  occurred  to  the  genius  of  this  truly  great 
Composer  \  and  the  Chorus  in  which  they  oc- 
cur, will  ever  remain  a  striking  memorial  of 
the  immortal  talents  of  Handel. 


SXD  OF  THE  FOURTH  AND  LAST-  PAR.T. 


INDEX. 


N.  B.    The  words  or  lines  printed  in  Italics,  are  references  either 
to  Musical  Examples,  or  to  their  Titles. 


A. 


Page 

Page 

Abbreviations 

83 

Alia  Breve 

30 

Abkiirzung 

84 

Alma  del  gran 

248 

Absatz 

287 

Altered  Triads 

151 

Above  Measure 

77 

Alphabet 

5 

Accent                   41, 

251,  263 

Al  Segno 

74 

Accentual  difference 

265 

Alto  Clef 

10 

Acciaccatura 

69,  246 

Ambrosian  Chant 

8 

Accidental  Chords 

189,  201 

Amen  Chorus 

173 

Accidental  Harmonies 

206 

Amphibrach 

253,  266 

Accidental  Minor  Seal 

e       130 

Anapaest 

253,  266 

Accidentals 

55 

Ancient  fiat  Signatures         145 

Acquiesce 

266 

Ancient  sharp  Signatures     144 

Actor 

264 

Ancient  Signature 

142 

Added  Lines 

3 

And  he  shall  reign 

310 

Added  Ninth 

208 

And  the  glory 

283 

Added  Note 

167 

And  with  his  stripes 

118 

Added  Seventh 

201 

Anomalous  Triads 

151 

Added  Sixth  ' 

201,  211 

Anschlag 

70 

Addition                167, 

186,  201 

Antecedent 

257 

Adlung 

56,59 

Anticipation 

198 

After-notes     63, 188, 

198,  246 

Aperto 

309 

Ais 

50 

Appels 

210 

.312 


INDEX 


Page 

Page 

Appoggiatura  62, 188,  200,246 

Beat 

68 

Appoggiatura  of  suspen- 

Bebe 

59 

sion 

196 

Bebung 

72 

^Apotome 

113,  119 

JBeethoven,  Op.  2 

-274 

Arioso 

287 

Bequarre 

57 

Arpeggio 

72 

Bemol 

54 

Arsis 

255 

Berenice,  Overture  in         278 

Artificial  Scale 

24 

Bflat 

52,53 

As 

54 

Bind 

27 

Asas 

59 

Bis 

76 

jis  when  the  dove 

74 

Black  Keys 

is 

Attacco 

296 

Black  Notes 

2 

Attendant  Keys 

134 

Blow,  ivarder 

294 

Auflosung 

175 

B  molle 

52 

Aufschlag 

255 

Borrowed  Chords 

•211 

Augmentation 

282 

Borrowed  Harmony 

214 

Authentic 

103 

Brace 

3 

Authentic  Cadence 

216,  220 

Bravura 

309 

Authentic  Scales 

165 

Break  his  bands 

138 

Auxiliary  Scales 

134 

Breve 

27 

Avison,  Concerto  in 

G        290 

Brechung 

72 

B sharp 

51 

But  oh,  sad  virgin 

11 

B. 

backfall 

61 

£ 

Bar 

4,  28,  267 

Baritono 

13 

Cadences              216, 

221,  223 

Barred  Semicircle 

so 

Cadenza 

73,  295 

Base 

6,8 

Caesura 

270 

Base  fundamental 

152 

Csesure                   T8t 

197,  269 

Base  Violin 

11 

Csesural  Cadence 

271 

Base  Grace 

69 

C  a;  sural  Variation 

280 

Baton 

46' 

ensures,  remarks  on 

272,  275, 

Battuta 

SS 

293 

INDEX. 


ais 


Cancellatum 
Canons 

Page 
50 

285 

Canto  Clef 
Canto  Fermo 

12 

292 

Catena  di  trilli 

65 

Cease \  oh  Judah 

39 

Cease  thy  anguish 
Ces,  C  flat 
Chain  of  Sevenths 
Chain  of  Shakes 

146 

54 

225 

65 

Change  of  Ceesure 

272 

Changing  Notes  63, 107, 187 
Characteristics  140 

Characters  73 

Choral  292 

Choral  Counterpoint  *  12 

Choral  Music  281 

Chord  148 

Chord  of  extreme  sharp 

Sixth  156 

Chord  of  Fifth  and  Sixth  171 
Chord  of  Fourth  and  Sixth  156 
Chord  of  Second  &  Fourth  173 
Chord  of  Second  and  Third  199 
Chord  of  Sixth  155 

Chord  of  Sixth  and  Ninth  199 
Chord  of  Sixth  and  Seventh  236 
Chord  of  Third  and  Fourth  172 
Chroma  109 

Chromatic  Appoggiatura  246 
Chromatic  Dissonant  Triad  150 
Chromatic  Enharmonic  110 
Chromatic  Modulation  245 
Dd 


Page 
Chromatic  Octave  249 

Chromatic  Scale   24,  102,  109, 
111 
Chromatic  Semitone       92, 112 
Chromatic  Sequence  of 

Sevenths  245 

Chromatic  Transition  246 

Cis  SO 

Ciscis  59 

Classes  of  Marpurg  236 

Clauses  278 

Clausula  216 

Clausula  ficta  306 

Clausula  formalis  287,  306 

Clefs  of  C,  FandG  4 

Clef  Line  6 

Close  73 

Close  Harmony  -  151 

Coda  78,  308,  310 

Codetta  295 

Codettas  of  Graun  297 

Collateral  103 

Comfort  ye  81,  265 

Commas  in  Music  49, 120 

Common  Cadence  223 

Common  Chord  148 

Common  Time  29 

Compound  Common  Time    34 
Compound  Feet  267 

Compound  Measures  256 

Compound  Sequences  231 

Compound  Time  33 

Compound  Triple  Time        36 


514 


INDEX. 


Page 

Page 

Concords 

202 

Delizie  dell'  Opere 

272 

Connecting  Chords 

207 

Demisemiquaver 

26 

Conrade  the  good 

261 

Derivatives 

156 

Consecutive  Fifths 

158 

Des 

54 

Consecutive  Octaves 

158 

Descending  Base  Series 

17 

Consider,  fond 

37 

Descend,  kindfiity 

81 

Consonant 

104 

Descending  Scale 

243 

Con  Sordini 

309 

Descending  Treble  Series 

>      18 

Contracted  Section 

279,  289 

Desdes 

59 

Contralto 

10 

Diacommatique 

138 

Contrary  Motion 

157 

Diatonic 

88 

Centra-tones 

17 

Diatonic  Dissonant  Triad 

149 

Contravene 

266 

Diatonic  Enharmonic 

110 

Corelli,  Concerto  1st 

79 

Diatonic  Genus 

109 

Corelli,  Concerto  8th 

35,  189, 

Diatonic  Intervals 

90 

27S 

Diatonic  interweaving 

306 

Corn  Riggs 

43 

Diatonic  Scale         88, 101, 109 

Coronata 

73 

Diatonic  Sequence        197,  200 

Counterpoint 

148,  202 

Diatonic  Succession 

184 

Counter-tenor  Clef 

10 

Diaz  euc tic  Tone 

120 

Crescendo 

82 

Die,  firesumfituous  Acis 

284 

Crotchet 

24 

Diesis                               51,  120 

Di  grado 

86 

Diminished  Seventh 

211 

D. 

Diminished  Triad 

149 

Diminuendo 

82 

Da  Capo 

74 

Diminution 

282 

Dactyl 

253,  266 

Direct 

75,  93 

Da,  me,  ni 

19 

Direct  Chord 

153 

Dash 

81 

Direct  Gradation 

219 

Peceptive  Cadences 

223 

Direct  Motion 

153 

Defective  Fifth 

238 

Director 

75 

Deerees                 2. 

3,  86, 106 

Di-salto 

86 

IftDEX: 


315 


Page 

Dis  50 

Discords  of  Addition  201 

Discord  of  Fourth  192 

Discord  of  Ninth  201 

Discords  of  Suspension  192 

Discords  of  Syncopation  200 

Discords  18# 

Dispersed  Harmony  151 

Dissonant  104 

Dodecachordon  17 
Dominant              134, 165, 168 

Dominant  Caesure  271 

Dominant  Division  <  108 

Dominant  Motion  162 

Dominant  Pedal  Note  236 

Dominant  Period  301 

Dominant  Progression  163 

Dominant  Section  286 
Dominant  Sequence  225,  278 
Dominant  Seventh       165,  250 

Doppelschlag  67 

Do,  re,  mi  19 

Dot  of  Expression  81 

Dot  of  Repetition  76 

Dot  of  Time  32 

Double  Appoggiatura  70 

Double  Bar  77 

Double  Compound  34 

Double  Dot  32 

Double  Emploi  206 

Double  Flat  59 

Double  Fundamentals  202 


Page 
Double  Sharp  58 

Double  Suspension        194,  231 
Double  Transition  191 

Doubling  of  the  Sixth  or 

Third  154 

Draw  the  tear  250 

Dreyklang  163 

Driving  Notes  45 

Durchgehende  63 

Durum  53 


E. 

Ecclesiastical  Mode  22" 

E  flat  53 

Eight  Tones  21, 103 

Einschnitt  274, 275 

Eis  50 

Elevation  61 

Eleventh  89,  209 

Emphasis  43,  260 

Enharmonic  58,  110 

Enharmonic  Diesis  118 

Enharmonic  Modulation  247 
Enharmonic  Scale  102, 109, 118 
Equal  Time  29 

Equivocal  Csesure  273 

Equivocal  Chord  169,  211,  247 
Equivocal  Harmonies  160 

Eschaton  121 

Es  54 


316 


INDEX. 


Page 

Page 

Eses 

59 

FClef 

3 

E  sharp 

51 

Fell  rage 

33 

Essay  on  Tune 

138 

Fermate 

73 

Essential 

55 

Fes,  F  flat 

54 

Essential  Chords 

201 

Figurate  Counter] 

joint          283 

Essential  Leading  Note  128 

Essential  Minor  Scale  130 

Essential  Sevenths  196 

Every  joy  34 

Exception  to  Csesure  273 

Expression  79 

Extended  Phrase  279 

Extended  Section  289 

Extension  207 

Extreme  flat  Eighth  118 

Extreme  flat  Fourth  115 
Extreme  flat  Seventh  117, 169 

Extreme  flat  Third  115 

Extreme  Interval  112 

Extreme  License  236 

Extreme  sharp  Fifth  116 

Extreme  sharp  Second  114 
Extreme  sharp  Sixth  117,  237 


Fa-diese  51 

False  and  mixt  Cadences  162 

False  Cadence  218 

False  Relations  15S 

Par  brighter  39 


Figures  of  Time  31 
Final  Notes  287 
First  Flat  53 
First  Sharp  50 
First  Time  296 
Fis  50 
Fis  fis  59 
Five-feet  Sections  289 
Five  Sounds  170 
Flat  52 
Flat  Fifth  96,99 
Flat  Second  91 
Flat  Third  94 
Flute  Sections  303 
Foot  263 
Force  260 
For  unto  us  282 
Fourth  21,22 
Fourth  and  Ninth  194 
Four  positions  of  the  Sev- 
enth 170 
Frangere  telum  292 
French  Sixth.  239 
Frets  89 
F  sharp  50 
Fundamental  Base  153 
Fundamental  Intervals        1Q1 


INDEX. 


317 


Page 

Gammut  17,  19 

G  Clef  7 

Genera                 1Q2,  109, 121 

German  Hymti  31 

German  Scale  57 

German  Sixth  239 

Ges  54 

Qipsey  Glee  40 

Ois  50 

Glareanus  16, 24 

God  save  the  King  85,  298 

Gothic  B  56 

Governing  Note  139 

Graces  61 
Gradation              184,190,219 

Gradual  Ascent  226 

Gradual  Descent  228 

Gradual  Motion  163 

Gradual  Progression  163 

Grammatical  Accent  44,  76 

Great  Cadence  223 

Great  Octave  16 

Greater  Scale  102 

Grecian  Rhythm  263 

Gregorian  Chant  8 

Groppo  27 

Grouped  Stems  84 

Grouping  38 
Groups  of  Quavers,  &c.          27 

Groups  of  six  257 

Groups  of  three  257 

Gr-oups  and  Times  255 
D  b  2 


H. 

Page 

Hailstone  Chorus  171 
Half  Beat                      69,  247 

Half  Demisemiquaver  26 

Half  Note  21 

Half  Time  31 
Hallelujah  Chorus  190,  310 
Handel's  2d  OrganConcerto  64 

Handel's  Fugue  305 

Hark,  he  strikes  12- 

Harmonic  Triad  14& 

Harmonie  universelle  165 

Harmony  148 

Haupt-ton  64 

Haydn's  Creation,  281 
Haydn's  Overture  in  D      209 

Haydn,  Op.  13,  Op.  17  40 

Haydn,  Op.  40    ""  \77 

Haydn's  3d  Symfi/wny  44: 

Heads  of  Notes  2 

Hear  Jacob's  Qod  195 

Hear  my  crying  237 

$eteroclite  }92 

He  was  brought  279. 

He  was  bruised  $$$ 
Hexachord                       18, 97 

Hide  me  from  l& 

High  Treble  13 

His  50 

Hold  73 

Hooks  of  Quavers,  &c.  24 

How  blest  the  maid  11 

How  excellent  143 


318 


INDEX. 


Page 

Page 

How  vain  is  man 

45 

Inversion  of  Dominant 

HiUfs-ton 

64 

Seventh 

171 

Hush,  ye  pretty 

37 

Inversion  of  Triad 

153 

Hyperdiatonic 

244 

Inverted  Intervals 

101 

Hyperoche 

121 

Inverted  Sequence 

227 

Hypodiatonic 

190 

Inverted  Turn 

67 

Irregular  Seconds 

106 

I. 

Irregular  Cadence 

217 

Irregular  Caesure 

270 

Iambic  Example 

267 

Irregular  Modulation 

185 

Iambic  Rhythm 

252 

Irregular  Motions 

158, 163 

Iambus 

264 

Irregular  Phrase 

279 

I  know  that  my 

268 

Irregular  Sequence 

233 

I'll  to  the  well-trod 

38 

Irregular  Transition- 

187 

Imbroglio 

260 

Is 

50 

Immortal  Lord 

213 

Italian  Coda 

309 

Imperfect  Cadence 

217 

Italian  Sixth 

238 

Imperfect  Close 

76 

Imperfect  Concords 

105 

J. 

Imperfect  Phrase 

275 

Important  Intervals 

102 

Jesus  Christ  is  risen 

87 

Index 

75 

Joys  in  gentle 

144 

Intense  Diatonic 

122 

Interpunctal 

288 

K. 

Interrupted  Cadence 

219 

Interspersed  Semitones. 

109 

Key-board 

15 

Intervals 

85, 121 

Key-note 

22 

Interwoven  Period 

304 

Keys 

123 

Interwoven  Phrases 

283 

Knot  of  the  Fugue 

283 

Interwoven  Sections 

291 

Koch's  marks 

275,  287 

In  the  battle 

139 

Koch's  remarks 

277 

Inversion 

100 

Kozeluch,  Op.  21 

309 

Inversion  of  added  Sixth 

202 

Kozeluch,  Op.  23 

301 

Inversion  of  Dominant 

214 

Kozeluch,  Op.  40,  41 

308 

INDEX. 


319 


L, 


Page 

La  Rachellina 

258 

Large  B 

59 

Last  Accent 

269 

Last  Flat 

140 

Last  Sharp 

140 

Latticed  B 

50 

Leading  Note        125, 140, 160 

Ledger  Line  3 

Legato  287 

Lesser  Scale  102 

Let  all  the  angels  282 

Let  ambition  86 

Let  festive  jay  74 

Letter  H  57 

Letter  h  56 

Let  the  bright  3$ 

Licenses  235 

Ligature  27 

Limma  113 

Lines  beyond  the  Staff  3 

Long  Keys  15 
Lardy  remember  David      145 


M. 


Major  and  Minor 

90 

Major  Mode 

123 

Major  Second 

92 

Major  Seventh 

98 

Major  Seventh  with  Ma- 

jor Third 

169 

Page 
Major  Sixth  97 
Major  Third  94 
Major  Third  at  a  Close  220 
Major  Triad'  149 
Make  straight  265 
Mark  of  Repetition  75 
Mark  of  Restoration  57 
Mark  of  Transposition  55 
Measures  2* 
Medial  Cadence  221 
Mediant  1-36- 
Mediant  Motion  162 
Mediant  Progression  163 
Mediant  Sequence  226,  257 
Melody  85> 
Melting  Strain*  261 
Mezzo  Soprano  13 
Mi  Bemol  54 
Mi,  fa  24 
Minim  24 
Minor  Mode  124 
Minor  Scale  128 
Minor  Seconds  91 
Minor  Seventh  98. 
Minor  Seventh  with  flat- 
Fifth  169 
Minor  Seventh  with  Mi- 
nor Third  168 
Minor  Sixth  97 
Minor  Third  93 
Minor  Triad  149 
Mirth  admit  me  25£ 
Mixt  Cadence  219 


320- 


INDEX 


Page 
Mixt  Measure  38,  258: 

Modes,  Minor  and  Major  123 
Modulation  134, 159 

Modulation  from  Major 

Scale  OT 

Modulation  from  Minor 

Scale  183 

Mordente  66, 70 

Morley's  Fifth  and  Sixth  202 
Mozart's  Duet  in  C  271 

Mozart's  Duet  in  D  290 

Mozart's  Op.  11  239 

Musical  Csesure  269 

Musical  Close  216 

Musical  Foot  263,  267 

Musical  Punctuation  275 


N. 

Natural  56 

Naturale  53 

Natural  Minor  Scale  130 
Natural  Scale                  24,101 

NelVorror  172 

Nine  Crotchet  Time  36 

Nine  Quaver  Time  37 
Nine  Semiquaver  Time        37 

No,  let  the  guilty  33 
Non  nobis  Domine       222,  285 

No'n  vi  turbate  276 

Notes  73 

Now  vanish  281 


Page 

Oblique  102 

Oblique  Line  72 

Q  clap,  your  hands  30 

Octave  14, 99 

O  fairest  often  10 

Qfall  the  girls  273 

O  had  I  Jubal's  274 

Old  Graces  61 

Q  mirror  of  our  116- 

Omission  of  Periods  303 

Omission  of  Roots  209 

Omission  of  the  Fourth  172 

Omission  of  the  Octave  175 

Open  Pedal  309- 

Organ  Point  195,235 

Ornamental  63 

O  the  /Measures  195,  296 

O  thou  that  tellest  268 

Our  fainting  courage  30 

Our  fears  are  now  129 

Our  fruit s y  while  yet  79 

Our  limpid  streams  80 

Overture  to  Rsther  291 

Overture  to  Messiah  187 

P. 


PalRdo  il  Sole 

272 

Paragraph 

278 

Partial  Modulation 

240 

Partial  Sequence- 

232 

Partition,  or  Partitura 

4 

INDEX. 


321 


Page 

frarts  of  Measures  254 
Passing  Notes          63, 106,  186 

Passing  Shake  66,  288 

Passione  of  Graun  261,  293 

Passione  of  Haydn  262 

Passione  of  Paisiello  237 

Pause  73 

Pedal  Harmonies  235 

Pedals  69 
Perfect  and  Imperfect 

Cadence  162 

Perfect  and  Sharp-  95 

Perfect  Cadence  217 

Perfect  Concords  105 

Perfect  Fifth  96 

Perfect  Fourth  94 

Perfect  Phrase  275 

Period  78y  298 

Pha  21 

Phrase                    78,  129,  274 

Phrases  in  Harmony  277 

Phrases  in  Melody  277 

Phrases  of  Rousseau  278 

Piano  passages  260 

Pilgrim,  by  Basse  261 

Pious  Orgies  57,  80 

Pitch  87 

Plagal  103 

Plagal  Cadence  216,  219 

Plagal  Coda  310 

Plagal  Scales  165 

Plain  Chant  22 


Page 

Pleyel,  Op.  12  84 

Pleyel,  1st  Sonata  188 

Pleyel,  3d  Sonata  ■  299 

Point  81 

Points  148 

Points  of  Division  252 

Point  ef  Em.  Bach  296 

Polacca  273 

Polonoise  273 

Polyodic  85 

Positions  of  a  Chord  152 

Postpositions  199 

Prxll-triller  66 

Praise  the  Lord  41 

Prelude  280 

Preparation  167 
Preparation  of  added  Sixth  20S 

Primary  Intervals  95 

Primary  Scales  150 

Principal  103 
Principal  governing  Note    139 

Progression  159 

Progression  of  Rameau  225 

Prophetic  raptures*  115 

Prophetic  visions  271 

Proportion  of  the  Breve  27 
Proportions  of  white 

Notes,  8cc.  27 

Protracted  Cadences  223 
Punctuation                    78, 27S 

Pyrrhic  264 

Pythagoreans  113 


322 


INDEX. 


Q.  Page 

Page       Replicate  249 

Quadrum  56  Resolution  174 
Qualities  of  Notes  136  Resolution  of  added  Sixth  203 
Quantity                               263        Resolution  of  Dominant 

Quarter-tone          58, 109, 119           Inversions  17$ 

Quaver                                  24        Rest,  general  77 

Quidiligit             203,292,293        Restoration  60 

Quintoles                               40        Rests  46 

Quintuple                             40       Retardations  192 

Return,  O  God  248 

Rhetorical  Accent  44 

R.                             Rhetorical  Termination  77 

Rhythm  251 


Kadical  Base 

151 

Rhythmical 

288 

Radical  Cadence          216, 

298 

Rhythmical  arrangement 

227' 

Radical  Harmony- 

200 

Rhythmical  close 

2ir 

Radical  parts  of  the 

Rhythmical  termination 

269 

Scale 

137 

Rinforzando             44, 82 

,  260- 

Rameau's  added  Sixth 

202 

Rondo 

75 

Rameau's  System 

151 

Root 

151 

Rasserena 

276 

Root  with  fiat  Fifth 

238 

Red  Cross  Knight 

294 

Round  B 

56 

Regular  Clefs 

12 

Rule  of  the  Octave 

242 

Regular  Motion 

163 

Regular  Phrase 

274 

Regular  Section 

286 

S. 

Relative  Attendant 

162 

Relative  Major 

134 

Sally  in  our  alley 

273 

Relative  Major  Key  Note 

137 

Scale  of  C 

22 

Relative  Minor  Key  Note. 

137 

Scale  of  F 

53 

Relative  Minor  Scale 

131 

Scale  of  F  sharp 

127 

Rendi  'I  sereno 

145 

Scale  of  G 

50 

Repeat 

75 

Scale  of  G  fiat 

127 

Repetition  of  Sections 

3Q3~ 

Scales. 

123; 

INDEX. 


Page 

Page 

Scales  with  Flats 

126 

Sforzato 

44 

Scales  with  Sharps 

124 

Shake 

64 

Schnelle  Fitsse 

247 

Shaked  Graces 

61 

Score 

4 

Shaked  on  Dominant 

308 

Second 

88 

Sharp 

49 

Secondary  Intervals 

95 

Sharp  Fourth 

95,  99 

Secondary  Scales 

150 

Sharp  Third 

94 

Second  Flat 

53 

Si-Bemol 

54 

Second  Sharp 

51 

Si  Do 

24 

Second  Time 

296 

Sigh  no  more 

264 

Section            78,  129, 

286,  278 

Signature 

55,  127 

See  the  conquering 

10,  30 

Signs  of  Quantity 

265 

See  the  tall  palm 

141 

Similar  Notes 

9 

Segno 

75 

Simple  Feet 

263 

Segue 

83 

Simple  Measures 

251 

Semibreve 

27 

Simple  Sequences 

229 

Semicircle 

30 

Since  first  I  saw 

264 

Semicolon 

287 

Single  Bar 

76 

Semicrome 

83 

Single  Cross 

58 

Semiquaver 

26 

Sin  not,  O  king 

76 

Semitone 

20 

Six  connected  Scales 

134 

Senza  Sordini 

309 

Six  Crotchet  Time 

34 

Septenaries 

14 

Six  Feet  Sections 

289 

Septimoles 

40 

Six  Quaver  Feet 

26S 

Sequences 

225 

Six  Quaver  Time 

34,  257 

Sequence  of  Sevenths 

200,  225 

Sixth  Flat 

126 

Sequence  of  Sixths 

171 

Sixth  Sharp 

125 

Series  of  C 

14 

Skips 

•104 

Sesquialter  Chromatic 

122 

Skips  of  Melody 

86 

Seven  Clefs 

90 

Slide 

71 

Seven  Letters 

5 

Slur 

27,80 

Seventh  and  Kinth 

194 

Small  Octave 

15 

•S24 


INDEX, 


Smooth  Graces 

SoftB 

Soft  Chromatic 

Soft  Diatonic 

Softly  rise 

"Softly  sweet 

Solfeggio 

Soprano  Clef 

'So  slmll  the  lute 

Sound  an  alarm 

Space 

Spondee 

Spring 

Square  B 

Staff 

Stem 

Streams  of  pleasure 

Strong  parts  of  the  Bar 

Stroke  through  a  fig? 

Subdominant 
Subdominant  division 
Subject  in  Phrases 
Submediant 
Subordinate  Scales 
Subsemitone 
Substitution 
Successive  Fifths 
Superdominant 
Supertonic 
Supertonic  Root 
Supertonic  Sevenths 
Supposed  Bases 


Page 

Page 

61 

Supposition 

195 

52 

Suspended  Notes 

"167 

111,  122 

Suspension            167, 

186, 199 

122 

Sutonique 

138 

227 

Sweet  bird 

113 

139 

Syllable  Si 

18 

24 

Syncopation           '45, 

186,  200 

12 

Syntone  Diatonic 

122 

270 

34 

- 

2 

T. 

264 

71 

Tablature 

15 

56 

Temperament 

120 

1 

Tempo  Buono 

41 

2 

Tempo  d'imbrogHo 

260 

103 

Tenor 

6 

P          41 

Tenor  Clef 

11 

re     155, 

Tenor  Violin 

10 

171 

Tenth 

89 

136,  140 

Tetrachord 

21 

108 

The  enemy  said 

39 

282 

The  flocks  shall  leave  146, 281, 

137 

284 

135 

The  heavens  are  tellir, 

\g       309 

137 

The  people  that 

139 

214 

The  people  shall 

209 

107 

The  raptur'd  soul 

40 

138 

Thesis 

255 

138 

The  smiling  dawn 

42 

205 

They  loathed 

118 

205 

The  youth  inspired 

143 

153  . 

Thirteenth 

209,  236 

INDEX. 


325 


Page 

Page 

Thou  didst  blotd 

1G6' 

Triplets 

38 

Three  Crotchet  Time, 

33,  257 

Trioles 

40 

Three  Inversions 

171 

Trite 

52 

TUree  Minim  Time 

36 

Tritone 

52,  95 

IThree  Motions  of  Radi- 

Trochaic Example 

267 

cal  Base 

163 

Trochaic  Rhythm 

252 

Three  Positions 

153 

Trochee 

264 

Three  Quaver  Time 

33 

Tu  ad  liberandum 

297' 

Thus  saith  the  Lord 

188 

Tune 

20^85 

-Time 

25  < 

Tuning 

12<> 

Times 

29,  76 

Turk's  Mark 

288 

Times  of  Measures 

2S6 

Turn 

67 

Tone,  Interval 

m 

Turn  not,  0  queen 

113 

Tonioeum  Chromatic 

110,  122 

Twelve  Modes 

23,  103 

Tonic 

136 

Twelve  Quaver  Time 

34 

Tonic  Division 

108 

Twelve  Rules 

157 

Tonic  Minor  Scales 

13£ 

Twice  marked  Octave 

17 

Tonic  Pedal 

19£ 

Two  Crotchet  Time 

31,  259 

Tonic  Pedal  Note 

235 

Two  Inversions  of  Triad,     153 

Tonic  Period 

298 

Tye 

27,79 

Tonic  Section 

286 

To  vanity 

115 

U. 

Transition 

167, 186 

Transposition 

133 

Uncommon  Chord 

155 

Treble 

5 

Unequal  Time 

82 

Tremando 

72 

Union  of  Phrases 

283 

Tremolo 

72 

Union  of  Thirds 

208 

Triad 

148 

Unison 

90,  174 

Triller 

64 

Unity  of  Melody 

197 

Triller,  Kette 

65 

Unnecessaiy  Skips 

158 

Triple 

32 

U/i  the  dreadful 

42 

Triple  Subdivision 

40 

Ut  diese 

51 

Triple  Time 

32 
Ee 

Ut,  re,  mi 

18 

326 


INDEX. 


V. 

Page 

Page 

Walze 

27 

Variation 

134 

War  he  sung 

75 

Variation  of  the  Tonic 

Waving  Line 

72 

Harmony 

271 

Weak  parts  of  the  Bar 

41 

Va  speme 

36 

Welcome  as 

43 

Verdi  prati 

33 

We  praise  thee 

138 

Viola  Clef 

9 

What  passion 

11 

Violin 

89 

When  warlike 

80,  141 

Violin  Sections 

303 

White  Keys 

15 

Violoncello  Clef 

11 

White  Notes 

2 

Vocal  Music 

18 

Whither,  my  love 

258 

Vo  solcando 

196 

Wie  stark 

247 

Vouchsafe,  0  JLord 

248 

Wretched  lovers 

292 

w. 


Waft  her,  angek 
Waltz 


103 
279 


Zadock  the  priest 
Zusammenschlag 


220 
69 


LIST  OF  TREATISES 

QUOTED  IN  THE  PRECEDING  WORK, 

With  References  to  the  Histories  of  Sir  John  Hawkins^ 

Dr.  Bumey,  and  the  Essay  of  M.  La  Borde^ 

for  a  more  particular  Description. 

[The  Pages  in  Parentheses  refer  to  the  present  Work,'] 


ADLUNG  (M.  Jacob,)  Anleitung  zu  der  Musikalischer  Gelahr- 
theit,  8vo.  Erfurt,  1758 ;  new  edition,.  1783*  by  Hiller,  (p.  56,  59.) 

ALEMBERT  (Jean  le  Rond  d\)  Elemens  de  Musique,  Paris,  1752, 
Lyons,  1762,.  (p.  110.)    Dr.  B.  iv.  612,  626.    La  B.  iii.  541. 

ANTONIOTTO  (Giorgio,)  l'Arte  Armonica,  fol.  London,  1761, 
(p.  24,  224.)  Sir  J.  H.  v.  393.  See  also  the  Monthly  Review, 
1761,  vol.  xxiv.  p.  293,  299. 

ARON  (Pietro,)  Institutio  Harmonica,  Bononise,  1516,  &c.  (p.  158.) 
Sir  J.  H.  ii.  341.    Dr.  B.  iii.  154.    La  B.  iii.  331. 

BACH  (Charles  Philip  Emanuel,)  Versuch  liber  die  wahre  Art 
das  Clavier  zu  spielen,  1753,  1759,  1780,  &c.  (p.  48,  61,  189, 196, 
199.)    Dr.  B.  iv.  595.    German  Tour,  vol.  ii.  244,  263. 

BETHIZY  (M.de,)  Exposition  de  la  Theorie,  8cc.  8vo.  1754, 1762, 
(p.  13,  110,  138.)    Dr.  B.  iv.  626.    La  B.  iii.  575. 

BONTEMPI  (Gio.  And.  Ang.)  Historia  Musica,  fol.  Perugia,  1695, 
(p.  49.)    Sir  J.  H.  iv.  255.    Dr.  B.  iii.  542.    La  B.  iii.  336. 

BORBE  (M.  de  la,)  Esssai  sur  la  Musique,  4  vols.  4to.  Paris,  1780, 
(p.  17, 190, 195,  285.)  Dr.  B.  iv.  628.  Monthly  Review,  voL  1x3. 
p.  376. 


328  LIST   OF   TREATISES   QUOTED. 

BURNEY   (Charles,  Mus.  Doc.  Oxon,)  A  General  History  of 
Music,  4to.  London,  vol.  i.  1776 ;  ii.  1782 ;  iii.  iv.  1789.    Monthly 
Review,  vol.  liv.  p.  203,  438 ;  vol.  lxvii.  p.  177;  vol.  lxviii.  p.  30; 
vol.  lxxxi.  p.  289,  426, 537 ;  N.  S.  vol.  i.  p.  121,  265. 

BURNEY  (Charles,  Mus.  Doc.  Oxon,)  The  Articles  in  the  New 
Cyclopedia  of  Dr.  Rees,  1803, 1806,  4to.  Accent  (p.  41,)  Acciac- 
catura  (p.  69,)  Afifioggiatura  (p.  62,)  Attacco  (p.  296,)  Base 
fundamental  (p.  152,)  Battuta  (p.  38,)  Ccesura  (p.  270.) 

BURTIUS  (Nicolas,)  Musices  Opusculum,  Bononise,  1487,  4to. 
(p.  159.)    Dr.  B.  iii.  155.    La  B.  iii.  337. 

BUTLER  (Charles,)  Principles  of  Music,  1636,  (p.  14,  17,  19,  20, 
25,  45, 57, 73, 75y 76, 96,  216.)    Sir  J.  H.  iv.  38.    Dr.  B.  iii.  365, 403. 

CERONE  (R.  D.  Petro,)  El  Melopeo  y  Maestro,  Napoles,  1613, 
(p.  158.)    Sir  J.  H.  iv.  70.    Dr.  B.  ii.  96,  iii.  537.    La  B.  iii.  337. 

DONI  (Gio.  Battista,)  Annotazioni  sopra  il  Compendio,  4to.  Roma, 
1648,  (p.  38.)  Sir  J.  H.  iv.  185.  Dr.  B.  i.  72, 116,  459,  iii.  173. 
La  B.  iii.  338. 

FRAMERY  (Nicholas  Etienne,)  Encyclopedic  Methodique,  4to. 
1791,  A.  to  C.  (p.  168,  237.) 

FUX  (John  Joseph,)  Gradus  ad  Parnassum,  fol.  Vienna,  1725, 
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GAFURIUS  (Franchinus,)  Theoricum  Opus,  1480,  1492.    Prac- 

tica  Musica,  1496,  8cc.    Harmonica,  1500,  &c.  (p.  7,  53,  56.) 

Sir  J.  H.  ii.  307.    Dr.  B.  iii.  152.    La  B.  iii.  341. 
GASPARINI  (Francesco,)  rArmonico  Prattico  al  Cimbalo.  Ven. 

1708,  1715, 1729,  &c.  (p.  69.)    Sir  J.  H.  iv.  320,  v.  226.    Dr.  B. 

iv.  574.    La  B.  iii.  344. 

GEMINIANI  (Francesco,)  Treatise  on  Good  Taste,  fol.  1749, 
(p.  244,246.)    Sir  J.  H.  v.  238,  389.   Dr.  B.  iv.461.    La  B.  iii.  627. 

GERBERT  (Martin,)  Prince  Abbot  of  St.  Blaise,  De*  Cantu  et 
Musica  Sacra,  4to.  2  vols.  1774;  Scriptores  Ecclesiastici,  4to. 
3  vols.  1784,  (p.  49,  52.)  Sir  J.  H.  i.  21.  Dr.  B.  German  Tour, 
ii.  318.    La  B.  iii.  629.    Monthly  Review,  vol.  lxxin.  p.  454. 

GLAREANUS  (Hen.  Lor.)  Dodecachordon,  Basil,  1547,  (p.  17.) 
Sir  J.  H.  ii.  410,  ul  123.    Dr.  B.  iii  249.    La  B.  iii.  345. 


LIST    OF   TREATISES    QUOTED.  329 

GRASSINEAU  (James,)  a  Musical  Dictionary,  8vo.  1740,  (p.  31.) 
Sir  J.  H.  i.  86. 

GUNN  (Mrs.  Anne,  late  Miss  Young,)  Introduction  to  Music,  Ed- 
inburgh, 8vo.  1803,  (p.  215.)    British  Critic,  vol.  xxv.  p.  64. 

HAWKINS  (Sir  John,  Knight,)  A  General  History  of  the  Science 
and  Practice  of  Music,  5  vols.  4to.  1776.  Monthly  Review,  vol. 
lvi.  p.  137,  270;  vol.  lvii.  p.  149. 

HENFLING  (Conrad,)  Specimen  de  novo  suo  Systemate  Musico. 
In  the  Berlin  Miscellanies,  vol.  i.  part  3d,  p.  265—294,  4to.  1710, 
(p.  121.) 

HILLER  (John  Adam,)  Anweisung  zur  Gesang,  4to.  Leipzig, 
(p.  19,  50,  293.) 

HOLDEN  (John,)  An  Essay  towards  a  rational  System  of  Music, 
oblong  quarto,  Glasgow,  1770,  (p.  3,  6,  8cc.  201,  8cc.)  Monthly 
Review,  vol.  xlvi.  p.  121. 

HOLDER  (Dr.  William,)  A  Treatise  on  the  Natural  Grounds  and 
Principles  of  Harmony,  8vo.  1694,  (p.  24.)  Sir  J.  H.  i.  309,  iv.  541. 
Dr.  B.  iii.  598. 

JONES  (Rev.  William,  of  Nayland,)  A  Treatise-  on  the  Art  of 
Music,  Colchester,  1784,  (p.  219,  278.)  Monthly  Review,  vol. 
lxxv.  p.  105,  174 

KEEBLE  (John,)  The  Theory  of  Harmonics,  4to.  1784,  (p.  58, 134, 
150,  207.)  Dr.  B.  iv.  265,  663.  European  Magazine,  vol.  vs. 
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KIRCHER  (Athanasius,)  Musurgia  Universalis,  fol.  Roma,  1650, 
(p.  58,  86.)    Sir  J.  H.  iv,  204.    Dr.  B.  iii.  576.    La  B.  iii.  353. 

KIRNBERGER  (John  Philip,)  Die  Kunste  des  reinen  Satzes,  4to. 
Berlin,  1774,  (p.  154,  207,  209,  211,  217.)     Dr.  B.  iv.  598. 

KOCH  (Hen.  Christ.)  Musikalisches  Lexicon,  2  vols,  large  8vo. 
Frankfort,  1802,  (p.  27,  40,  8cc.  &c.) 

KOLLMANN  (A.  C.  F.)  Essay  on  Musical  Harmony,  fol.  1796, 
(p.  23,  28;  Sec.  &c.  Sec.)  Monthly  Review,  N.  S.  vol.  xxi.  p.  27. 
Critical  Review,  vol.  xviii.  p.  88.  British  Critic,  vol.  xvi.  p; 
169,  393. 

Ee2 


330  LIST    OF   TREATISES    qUOTED. 

KOLLMANN  (A.  C.  F.)  Essay  on  Musical  Composition,  fcl.  1799, 
(p.  56,  69.)  Monthly  Review,  N.  S.  vol.  xxxi.  p.  127.  Critical 
Review,  vol.  xviii.  p.  219.    British  Critic,  vol.  xvii.  p.  399. 

LAMPE  (John  Fred.)  Method  of  teaching  Thorough  Bass,  4to. 
1737,  (p.  190,  229,  233.)    Sir  J.  H.  v.  371.    Dr.  B.  iv,  655, 672. 

LANGLE  (H.  F.  M.)  Nouvelle  Methode  pour  chiffrer  les  accords, 
8vo.  Paris,  1801,  (p.  201.)    La  B.  iii.  441. 

LORENTE  (Andrea,)  El  Porque  de  la  Musica,  fol.  Alcala,  1672, 
(p.  158.)    Sir  J.  H.  iv.  265.    La  B.  iii.  354. 

MALCOLM  (Alex.)  a  Treatise  of  Music,  &c  8vo.  Edinburgh, 
1721,  (p.  6,  20,  &c.  &c.)    Sir  J.  H.  v.  215. 

MARPURG  (Fred.  William,)  Handbuch  bey  dem  General  Bass, 
&c.  1755, 1757,  1762,  &c.  Sec.  (p.  150, 156,  236.)  Sir  J.  H.  i.  15. 
Dr.  B.  iv.  518.    La  B.  iii.  355. 

MARTINI  (II  Padre  Giambattista,)  Saggio  di  Contrappunto,  Sec. 
Bologna,  2  vols.  4to.  1774, 1775,  (p.  13,  58, 112, 167,  220, 283,  296.) 
Dr.  B.  iv.  575.    La  B.  iii.  355. 

MATTHESON  (John,)  Orchestre,  1713.  Der  Voilkommene 
Kapellmeister,  fol.  Hamburg,  1739,  (p.  172,  263.)  Sir  J.  H. 
v.  251.    Dr.  B.  iv.  66. 

MAXWELL  (Mr.)  Essay  on  Tune,  8vo.  1782,  (p.  24, 138.)  Dr.  B. 
iii.  164.    Monthly  Review,  vol.  lxv.  p.  437. 

MERCADIER  (de  Belesta,)  Nouveau  Systeme  de  Musique,  8vo, 
Paris,  1776,  (p.  190.)  La  B.  iii.  653.  Monthly  Review,  vol.  hi. 
p.  386. 

MERSENNE  (Marin,)  under  the  name  of  De  Sermes,  Harmonie 
Universale,  8va  1627,  (p.  165.)  Sir  J.  H.  iv.  104.  Dr.  B.  iii.  583. 
La  B.  iii.  357. 

MORLEY  (Thomas,)  Introduction,  1597,  fol.  (p.  45,  75t  188,  201, 
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NICHELMAN  (Christopher,)  Die  Melodie,  4to.  Danzig,  1755, 
(p.  86.) 

ORNITHOPARCUS  (Andreas,)  Micrologus,  translated  by  Dow- 
land,  1609,  (p.  19.)    Sir  J.  H.  ii  391,   Dr.  B.  iii.  247.   La  B.  iii.  361. 


LIST   OF   TREATISES   OJJOTEB.  331 

PEPUSCH  (John  Christ.)  a  Short  Treatise  on  Harmony,  1730, 
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J.  H.  v.  194,  344.    Dr.  B.  iv.  636. 

PETRI  (John  Sam.)  Anleitung  zur  praktischen  Musik,  second  edi- 
tion, 4to.  Leipzig,  1782,  (p.  73.) 

PIZZATTI  (Giuseppe,)  La  Scienza  dei  Suoni,  small  fol.  Venez. 
1782,  (p.  154.)    Dr.  B.  iv.  576. 

PLAYFORD  (John,)  Introduction  to  the  Skill  of  Music,  8vo.  edi- 
tion 14th,  1700,  (p.  26,  27,  101,  204.)  Sir  J.  H.  iv.  468.  Dr.  B. 
iii.  59,  417. 

PRINCIPES  Elementaires  de  la  Musique,  par  Cherubini,  Gossec, 
&c.  &c.  Paris  fol.  (p.  104,  256.)  British  Critic,  vol.  xxv.  p.  369 ; 
vol.  xxvi.  p.  361. 

PRINZ  (W.  C.)  Satyrischer  Componist,  4to.  Dresden,  1696,  (p.  86, 
263,270,287.)    Sir  J.  H.  iv.  246.    Dr.  B.  iii.  576. 

RAMEAU  (Jean  Phil.)  Traite  de  1'Harmonie,  4to.  Paris,  1722, 
(p.  7,  45, 102,  &c.  8cc.)  Sir  J.  H.  v.  384.  Dr.  B.  iv.  609.  La  B. 
iii.  464.  ' 

REINHARD  (Andreas,)  Musica,  Lipsisc,  1604,  small  8vo.  (p.  15.) 
Dr.  B.  ii.  121. 

RIEPEL  (Joseph,)  Anfangsgriinde,  &c.  fol.  Ratisbo%  1754,  (p.  275.) 
Dr.  B.  German  Tour,  vol.  ii.  p.  318. 

ROSSI  (Lemme,)  Sistema  Musico,  4to.  Perugia,  1666,  (p.  58.)  Dr. 
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ROUSSEAU  (Jean  Jaques,)  Dictionaire  de  Musique,  1768,  Art. 
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V Octave  (p.  242,)  Sauver  (p.  175,)  Temps  (p.  41,)  Unite  (p.  197.) 
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332  LIST    OF   TREATISES   qUOTEB. 

SALINAS  (Franciscus,)  De  Musica,  1577,  fol.  (p.  58.)  Sir  J.  H.  iii. 
123.    Dr.  B.  iii.  291.    La.  B.  iii.  366. 

SHIELD  (William,)  Introduction  to  Harmony,  4to.  1800,  (p.  44, 
82,  &c.  8cc.)  Monthly  Review,  New  Series,  vol.  xxxiii.  p.  154  ; 
Critical  Review,  N.  A.  vol.  xxx.  p.  133 ;  British  Critic,  vol.  xviii. 
p.  46,  157. 

SIMPSON  (Christopher,)  a  Compendium  of  Practical  Music,  8m 
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Dr.  B.  iii.  421. 

SULZER  (John  George,)  Allgemeine  Theorieder  Schonen  Kunste, 
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Tour,  vol.  ii.  208. 

TARTLNI  (Giuseppe,)  Trattato  di  Musica,  4to.  Padua,  1754, 
(p.  40,  219.)  Sir  J.  H.  v.  375.  Dr.  B.  iv.  562,  575.  La  B. 
iii.  368. 

TEVO  (Zacharia,)  II  Musico  Testore,  4to.  Venezia,  1706,  (p.  73.) 
SirJ.H.  v.  27.    Dr.  B.  i.  114.    La  B.  iii.  369. 

TURK  (Dan  Gottlob,)  Klavierschule,  Leipzig,  1789,  (p.  59,  61, 
&c.  &c.  &c.) 

TURNER  (William,)  Sound  Anatomiz'd,  in  a  Philosophical  Es- 
say on  Music,  4to.  1724,  (p.  7,  57.) 

VANNEO  (Steffano,)  Recanetum  de  Musica  Aurea,  Roma  1533, 
(p.  49.)    Sir  J.  H.  ii.  408.    Dr.  B.  iii.  158.     La.  B.  iii.  370. 

WrALTHER  (John  Gottfried,)  Musikalische  Lexicon,  8vo.  Leip- 
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ZARLINO  (Gioseffo,)  Institutioni  Harmoniche,  Venez.  1558, 1562, 
1573,  15S9,  fol.  Dimostrazioni,  1571,  1589.  Sopplementi  1589, 
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La  B,  iii.  372. 


Hocft  ipgpital  Cdfectfmt* 


JUST  PUBLISHED, 

And  for  sale  by  WEST  &  BLAKE,  No.  56,  Cornhill, 
and  by  MANNING  &  LORING,  No.  2,  Cornhill, 

{In  one  volume,  royal  quarto,  price  three  dollars,) 

THE  COLLECTION 

OF 

PSALM  AND  HYMN  TUNES, 

SUNG  AT  THE  CHAPEL  OF  THE  LOCK  HOSPITAL. 
From  the  last  London  Edition. 

Lock  Hospital,  near  Hyde-Park  Corner,  JMay  3,.  1792,- 

THE  music  which  is  adapted  to  the  hymns  that  are 
used  in  the  chapel  of  this  hospital,  hath  been  generally  al- 
lowed, by  competent  judges,  to  contain  a  great  variety  of 
the  finest  specimens  of  sacred  harmony  that  have  ever  been 
introduced  into  public  worship. 

For  the  first  edition  of  these  hymn  tunes,  we  are  princi- 
pally indebted  to  the  musical  talents  and  benevolent  exer- 
tions of  the  late  Rev.  Mr.  Madan,  who  proposed,  by  pub- 
lishing this  collection,  to  assist  the  devotions  of  the  pious 
Christian,  and  by  its  sale  to  contribute  towards  the  support 
of  this  charitable  institution* 

But  it  is  not  without  concern,  that  the  governors  of  this 
hospital  complain  before  the  public,  that  this  little  source 
of  profit  (the  portion  of  the  pitiable  objects  of  this  charity) 
hath  been  repeatedly  plundered  by  the  lawless  invaders  of 
literary  property. 

Many  of  the  tunes  have  been  published  in  a  complete 
form.,  by  piratical  printers  of  music  ;  while  another  class  of 
men,  actuated  alike  by  vanity  and  avarice,  by  altering  and 


mutilating  the  music,  have  attempted  at  once  to  defraud 
the  several  composers  of  their  honour,  and  the  indigent  of 
their  subsistence.  To  preserve  the  public,  therefore,  from 
the  imposition  of  surreptitious  editions,  and  to  secure,  as  far 
as  possible,  the  profits  arising  from  the  sale  of  this  work,  to 
those  for  whose  benefit  they  were  primarily  designed,  a  new 
and  correct  edition  of  the  music  is  now  published,  by  the 
direction  of  the  governors  of  the  hospital. 
By  order  of  the  committee, 

JABEZ  FISHER,  Secretary. 

-  Advertisement  to  the  American  Edition. 

WE  have  now  the  satisfaction  of  presenting  to  the  lovers 
of  classical  sacred  harmony,  a  work  of  the  first  celebrity  ;  to 
the  acknowledged  merit  of  which  few  musicians  are  stran- 
gers, though  scarcely  a  copy  has  lately  been  found  for  sale, 
even  in  London.  The  avidity  with  which  many  good 
judges  seized  the  occasion  of  promoting  the  republication 
of  this  collection,  induced  us  to  hazard  an  ample  edition  ; 
trusting  for  our  remuneration  to  the  taste  and  liberality  of 
a  discriminating  public; 

There  is  a  character  or  style  peculiar  to  every  writer  of 
music,  however  distinguished :  but  the  Lock  Hospital  Col- 
lection displays  all  the  variety  that  can  be  desired  ;  being 
selected  from  the  most  approved  productions  of  the  greatest 
masters  in  Europe.  In  this  compilation  will  be  found 
beauties  from  the  pen  of  the  Rev.  Dr.  Madan,  the  original 
Editor ;  from  Dr.  Worgan,  Dr.  Heighington,  Dr.  Burney, 
Dr.  Arnold,  F.  Giardini,  M  Vento,  C.  Lockhart,  F.  Ales- 
sandri,  and  many  others  of  the  first  rank  in  the  science. 

As  to  the  style  of  the  mechanical  execution,  we  feel  a 
confidence  of  having  completely  fulfilled  our  engagements, 
and  an  assurance  of  meeting  the  expectations  of  our  patrons. 

The  performer  will  observe,  that  through  the  whole 
work,  the  air  or  principal  is  placed  next  above  the  bass. 

That  this  publication  may  prove  useful  in  diffusing  a 
taste  for  correct  and  refined  composition,  and  by  its  animat- 
ing and  pathetic  melodies  promote  the  fervour  of  Christian 
devotion,  is  the  sincere  desire  of 

THE  AMERICAN  PUBLISHERS. 


fc 


This  book  must  not 
be  taken  from  the 
Library  building. 


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J  , 


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7  v^  d 


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